DIRECTOR OF ANIMATION WHO FRAMED ROGER RABBIT
A MANUAL OF METHODS, PRINCIPLES AND FORMULAS
FOR CLASSICAL, COMPUTER, GAMES, STOP MOTION AND INTERNET ANIMATORS
To Imogen,
co-conspirator and wife, without whom this book would certainly
not exist - and the author might not be around to write it.
I want this book to put over what I have found to be the best working methods, so that
animating becomes better and easier to do.
There are lots of formulas, principles, cliches and devices here to help, but the main thing i
want to pass on is a way of thinking about animation in order to free the mind to do the best
work possible.
I learned it from the best in the business and I've boiled it ail down into a systematic working
order. It transformed my work - I hope it will be useful to you.
vi
A cnmnifMTui! I did b.i^d gn a Frank Frazctt*Ji pokier
CONTENTS
1 WHY THIS BOOK?
11 DRAWING IN TIME
23 TIME TO DRAW
35 IT'S ALL IN THE TIMING AND THE SPACING
41 LESSON 1
46 ADVANCING BACKWARDS TO 1940
47 History of the Chart and Inbetween
48 Extremes and Breakdowns
57 Keys
61 Three Ways to Animate
68 Testing, Testing, Testing
70 The X-Sheet
75 Came the Dawn ...
76 The Best Numbering System
78 The Great Ones and Twos Battle
80 The Top and Bottom Pegs Battle
84 MORE ON SPACING
88 .Classic Inbetween Mistakes
90 Watch Your Arcs
92 Getting More Movement Within the Mass
96 The Elongated Inbetween
99 The Major Beginner's Mistake
99 The ‘Ruff Approach
101 How Much Do We Leave To The Assistant?
101 Take The Long Short Cut
102 WALKS
106 Getting the Weight
109 Set the Tempo
111 The Passing Position or Breakdown
115 Two Ways to Plan a Walk
118 The Double Bounce
120 Loosening it Up
128 D iggi n g Deeper i nto Wal ks
135 There's Nothing Like Trying It
136 The Heel
136 Foot Action
142 Normal Walk Spacing
146 Weight Shift
147 The Belt Line
148 Arm Movements
156 Counteraction
163 The Recipe
167 Sneaks
173 The Tip Toe Sneak
176 RUNS, JUMPS AND SKIPS
189 The 4 Drawing Formula Run
192 The 3 Drawing Run
195 The 2 Drawing Run
200 The Recipe
201 Run, Jump, Skip and Leap
209 Skips
212 Jumps
213 Weight on a Jump
217 FLEXIBILITY
218 The Breakdown
223 Simple Overlap
226 Overlapping Action
230 Simple Counteraction
231 Breaking Joints to Give Flexibility
246 Flexibility in the Face
249 Overlapping Action in the Face
251 instant Read - Profiles for Readability
256 WEIGHT
262 Pressure and Weight
264 How Much Effort Do We Have To Expend?
269 Dancing
272 Rules of Thumb On Synchronising Action
273 ANTICIPATION
282 Surprise Anticipations
283 Invisible Anticipations
285 TAKES AND ACCENTS
295 A Hard Accent Bounces Back
295 A Soft Accent continues
297 TIMING, STAGGERS, WAVE AND WHIP
297 Stagger Ti m i n gs
299 The Side to Side Vibration Formula
301 Whip Action
301 Wave Action
304 DIALOGUE
305 Phrasing
310 Picture and Sound Sync
311 Accents
314 Attitude
314 The Secret
315 ACTING
320 Change of Expression
321 Look for the Contrast
323 An Acting Point
324
324
325
325
327
32S
330
333
334
334
334
335
335
335
335
335
335
335
335
335
338
338
339
342
x
Body Language
Symmetry or 'Twinning'
Steal It!
Eyes
ANIMAL ACTION
Live Action Reference
Basic Animal Walk Pattern
DIRECTING
The Brief
The Leica Reel
Separate the Characters
Best Foot Forward
Casting Animators
Making Changes
‘Say! Say!'
Voice Recording
Hook Ups
Research
Editing
Believe in Your Material
REVIEW
The Procedure
The Ingredients
Acknowledgements
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WHY THIS BOOK?
When I was ten years old I bought a paperback book, How to Make Animated Cartoons, by Nat
Falk, published in 1940. it's now long out of print, but I used it as a handy reference guide for
1940s Hollywood cartoon styles when I designed the characters and directed the animation for
Who Framed Roger Rabbit .
More importantly for me, however, the book was clear and straightforward; the basic informa¬
tion of how animated films are made registered on my tiny ten-year-old brain and, when I took
the medium up seriously at twenty-two, the basic information was still lurking there.
I was living and painting in Spain when the incredible possibilities of what animation could do
engulfed my mind. I planned my first film and took the money I had left from portrait painting
to London.! starved for a bit, finally found work animating television commercials and man¬
aged to self-finance The Little island - a half-hour philosophical argument without words
which won several international awards.
The Little Island, 1958
Three years later, when I'd finished the film, the unpleasant realisation slowly crept up on me
that I really didn't know very much about animation articulation, that is, how to move the stuff.
To train myself I traced off the animation that Ken Harris had done of a witch in a Bugs Bunny
cartoon { Broomstick Bunny - 1955, directed by Chuck Jones). Doing this only confirmed how
little I understood about movement.
While I was making The Little island I had seen a re-release of Bambi , but since I'd considered
myself a revolutionary in the field of animation, I’d rejected the film as conventional. But when I
finished my film, i saw Bambi again, and almost crawled out of the theatre on my hands and knees.
'How did they ever do that?' I'd learned just enough to realise that i really didn't know anything!
1
Animation master Ken Harris and wannabe, 1969
So, how and where to get the expert knowledge? I was working in England as an independent
and didn't want to go into the Hollywood cartoon mill, J wanted it both ways, I wanted my
artistic freedom but I also wanted the knowledge.
Preston Blair's How to Animate Film Cartoons was available, but because I was put off by the
squashy-stretchy 1940s cartoon style, it was harder for me to grasp the underlying principles
I was after - although it's a solid book and Preston was a very good animator from the
Golden Age. It's ironic that forty years later I would become best known for my work on Who
Framed Roger Rabbit - drawing in precisely the same style that had put me off learning from
Preston.
Much later, I was able to work with Ken Harris, the first 'real' master animator I met, and whose
witch in Broomstick Bunny 1 had traced off. It's generally agreed that Ken Harris was the
master animator at Warner Bros. Certainly he was director Chuck Jones’s lead man.
In 1967,1 was able to bring Ken to England and my real education in animation articulation
and performance started by working with him. I was pushing forty at the time and, with a
large successful studio in London, I had been animating for eighteen years, winning over one
hundred international awards.
After seven or eight years of working closely with Ken, he said to me, ‘Hey Dick, you're start¬
ing to draw those things in the right place.'
2
'Yeah, I'm really learning it from you now, aren't l? r I said.
'Yes,' he sard thoughtfully, 'you know . . . you could be an animator.'
After the initial shock I realised he was right Ken was the real McCoy whereas I was just doing
a lot of fancy drawings in various styles which were functional but didn't have the invisible
'magic' ingredients to make them really live and perform convincingly.
So I redoubled my efforts (mostly in mastering head and hand ‘accents') and the next year Ken
pronounced, 'OK, you're an animator.'
A couple of years after that, one day he said, 'Hey, Dick, you could be a good animator.'
When he was eighty-two, I would go out to Ken's trailer home in Ohai, California and lay out
scenes with him that he would later animate. He'd often take a half-hour nap and I'd keep
working.
One day he conked out for three hours and by the time he woke up, I had pretty much
animated the scene. 'Sorry, Dick,' he said, 'you know ... I'm just so god-damned old.’ (long
pause) 'Oh ... I see you've animated the scene ..
'Yeah,' I said, 'I didn't know what else to do'.
'Nice drawings ...' he said, then pointed. 'Hey, that's wrong! You've made a mistake.' And
of course he was right.
'Dammit Ken,' I said. 'I've worked with you for thirteen years and I still can't get your
"thing". I'm afraid it's going to die with you.'
'Ye-e-aaahhhhh . . .' he snickered, then said, 'Well, don't worry, you've your own pretty
good thing going.' Then he snickered again.
Ken was a very fast worker and I was always squeezing him for more and more footage and
getting him to animate even when the taxi was ticking outside waiting for him to catch a plane
home to the States.
When he died in 1982 at eighty-three, my real regret was that when I was a pallbearer I
didn't have the guts to tuck a blackwing pencil into his hand in his open coffin. He would have
loved that.
When I first started working with Ken, we had just completed the animation sequences which
occur throughout Tony Richardson's epic film The Charge of the Light Brigade and I thought I
was getting pretty proficient. When Ken saw it in the theatre he said, 'God, Dick, how did you
guys ever do all that work?' (pause) "Course it doesn't move too good ...'
But I'm still not ashamed of our work on that film.
After that we went to see The Beatles' feature cartoon The Yellow Submarine . Though l liked
the designer Heinz Edelman's styling, the 'start-stop, stop-start' jerky quality of most of the
animation meant that after a half hour much of the audience went to the lobby. No matter how
stylish or inventive - jerky or bumpy animation seems only to be able to hold the audience for
about twenty-five minutes. While The Yellow Submarine had an enthusiastic cult following
from the advertising agencies and university crowd, the general public avoided the film. It
killed the non-Disney feature market for years.
3
My animated sequences from Tony Richardson's epic film, The Charge of the Light Brigade t 1968,
4
A top United Artists executive who distributed The Yellow Submarine told me, 'This is the
Beatles at the height of their popularity and still people stay away from non-Disney animation.'
Film executives at that time always said of animation, ‘If it doesn't have the Disney name on it,
no one will go see it' But the real point is, it wasn't just the Disney name - it was the Disney
expertise that captivated the audience and held them for eighty minutes.
Almost the same week Disney's The Jungle Book came out and was an instant hit. I went along
to see it reluctantly, thinking (as I still considered myself an innovator) that though there might
be something interesting, it was probably predictable stuff.
That's how it started - with standard-issue wolves adopting the 'good housekeeping seal of
approval' cutesy baby. I remember the boy Mowgli riding a black panther moving and acting in
a cliched way - until he got off. And suddenly everything changed. The drawing changed. The
proportions changed. The actions and acting changed. The panther helped the boy up a tree
and everything moved to a superb level of entertainment. The action, the drawing, the per¬
formance, even the colours were exquisite. Then the snake appeared and tried to hypnotise the
boy and the audience was entranced. I was astonished.
The film continued at this high level, and when the tiger entered weighing eight hundred
pounds and was both a tiger and the actor who did the voice (George Sanders), I realised I
didn't even know how it was done - let alone ever be able to do it myself. I went back to my
studio in shock and, through the night, I wrote a long fan letter.
In those scenes I thought I had recognised the hand of the great Disney genius Milt Kahl, who
Ken Harris had raved about. The first name on the directing animator's credits was Milt Kahl, so
I assumed the work that stunned me had been Milt's. And it turned out that it was - except
for one shot that was by Ollie Johnston. Johnston and Frank Thomas had done lots of other
marvellous work in the picture.
So I wrote to Milt saying that 1 thought The Jungle Book was the absolute high point of pure
animation performance and that I didn't think it would ever be possible for anyone outside the
Disney experience to reach that pinnacle.
It turned out Milt said it was the best letter they ever had - and even better, that he knew my
work a bit and wanted to meet me.
Irrepressible ambition made me change my opinion that they alone could attain such heights;
I figured, I think correctly, that given talent, experience, persistence - plus the knowledge of the
experts - why should everything not be possible?
I couldn't stand it any more. I had to know everything about the medium and master all aspects
of it. Cap in hand, I made yearly visits to Milt and Frank Thomas, Ollie Johnston and Ken
Anderson at Disney.
One of the most important things Milt said was; 'Our animation differs from anyone else's
because it is believable. Things have weight and the characters have muscles and we're giving
the illusion of reality.'
5
Htolo finJMk Hwrmjmri
A powerhouse of animation knowledge. From the left - Ken Harris, Grim Natwick and Art Babbitt, with students
Richard Purdum and me outside my Soho Square studio in London* 1973.
But how to make it believable? I didn't go there to drink Milt's bathwater or to find out what
Frank Thomas had for breakfast. I would fire my carefully prepared list of questions at them and
later write down everything they said. These wonderful virtuosos became my friends and were
incredibly generous with their help. As Milt said, 'if you ask questions you find out what you
want to know, if you're lucky enough to ask someone who knows.’
I was also fortunate enough to enlist the marvellous legendary animator Art Babbitt as a
collaborator and teacher. Babbitt had developed Goofy and animated the Mushroom Dance
in Fantasia. He 'dumped his kit’ of knowledge by giving several month-long in-house seminars
as well as working with me in my London and Hollywood studios for several years.
in 1973,1 hired the eighty-three-year-old - but still brilliant - Grim Natwick as a 'live-in' tutor in
my London studio. Grim had made his name designing Betty Boop and animating most of Snow
White herself in Snow White and the Seven Dwarfs. I also worked closely with Emery Hawkins
who Ken Harris regarded as the most imaginative animator. Emery was wildly creative and rotat¬
ed in and out of every studio. I was also able to work for a short time with Abe Levitow, Gerry
Chiniquy and Cliff Nordberg. Dick Huemer, one of the first New York pioneer animators, and later
a key Disney story director {Snow White and the Seven Dwarfs, Dumbo, Fantasia and all the early
Disney features) also gave me a very clear picture of the early days of animation.
Most of them are gone now but this book is full of their accumulated knowledge and craft.
6
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I scribbled this of Milt when he was lecturing us at my
studio. Milt is saying, J Don't listen to Dick, he r s too
technical,'
Milt was always encouraging me to do my own personal
more unconventional work, which he liked - but I
wanted the knowledge first.
Two geniuses at once tutor the author - Frank Thomas
standing and Milt Kahl at the desk, early 1970s.
If nf fiG?
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Used by permission from Disney EnterpnSEt if
7
' i he Arthurian Legend' was a formidable professor who regarded the professional skills of the
animator as being equivalent to those of a concert pianist
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Art in action; his first month long seminar at my London studio was like water in the desert for us„
8
In the three-day masterclasses I've been giving lately, some experienced professionals initially
feel that we’re running over material that they're quite familiar with. Then about half way
through the seminar things deepen and on the last day it all suddenly knits together. Some even
describe it as an epiphany. Well, it sure was for me when I finally 'got it'.
So please read the whole thing.
Animation is just doing a lot of simple things - one at a time! A lot of really simple things
strung together doing one part at a time in a sensible order.
The movie actor, Scott Wilson sat through my three-day San Francisco masterclass. To my sur¬
prise he came up at the end and said, ‘Of course you realise, Dick, that this whole thing has
been about acting.'
I said, 'What?' and Scott said, ‘These are the exact equivalent methods, exercises and
analyses we actors do in our acting workshops.'
So acting is intrinsically part of the whole. And if you can't draw or articulate movement
how are you ever going to do the acting?
Someone once asked Milt Kahl: 'How did you plan out the counteraction you used on that
character?'
Milt blew up: 'That's the wrong way to look at it! Don’t think of it like that! I just concen¬
trate on giving the performance - that's what's important! The play's the thing. You'll get ail
tangled up if you think of it in a technical way!'
Of course he's right. If a musician knows his scales, he can concentrate on giving the perform¬
ance and bringing out the ideas inherent in the music.But if he constantly has to think of the
mechanics of what he's doing - then he can hardly play.
Therefore, if we know and understand all the basics - then we've got the tools to create.
Only then we can give the performance!
This book is an anatomy course in animation. Just like an anatomy course in life drawing, it
shows you how things are put together and how they work. This knowledge frees you to do
your own expression.
It takes time. I didn't encounter Ken Harris until I was nearly forty and he was sixty-nine. I had
to hire most of my teachers in order to learn from them.
f hired Ken in order to get below him and be his assistant, so I was both his director and his
assistant. I don't know if this is original, but I finally figured out that to learn or to 'understand' f
had to 'stand under' the one who knows in order to catch the drippings of his experience.
There's a tale about a decrepit old Zen master wrestler. A very fit and brilliant young wrestler
begs the old master to take him on and show him the master's ninety-nine tricks.
The old man says, 'Look at me, I'm old and decrepit and I'm not interested.'
The young man keeps pestering the old man who says, 'Look, son, I'm fragile now and
when I show you the ninety-nine tricks, you’ll challenge me, they always do - and look at
me, you'll make mincemeat of me.'
9
The Charge of the Light Brigade, 1968
‘Please, oh please, master,' pleads the powerful young man. 'I promise I will never chal¬
lenge you! Oh please teach me the ninety-nine tricks.'
So reluctantly the old man teaches him until the young man has mastered the ninety-nine
tricks. The young man becomes a famous wrestfer and one day takes his master into a room,
locks the door and challenges him.
The old man says, 'I knew you'd do this - that's why I didn’t want to teach you in the first
place.'
'Come on, old man, there's just me and you in here,' says the young one, 'Let’s see what
you're made of.'
They start and right away the old man throws the young fellow out of the window. The
crumpled-up young man moans up from the street below, 'You didn't show me that one!'
'That was number one hundred,' says the old man.
This book is the ninety-nine tricks. The hundredth trick is called talent.
I became a repository for various strands of animation lore and I've taken all this stuff and given
it my own twist. The goaf here is to master the mechanics in order to do new things. Get the
mechanics into your bloodstream so they just become second nature and you don't have to
think about them and can concentrate on giving the performance.
I remember once saying to Emery Hawkins (a wonderful, unsung animator), Tm afraid my
brains are in my hand.'
Emery said, 'Where else would they be? It's a language of drawing. It’s not a language of
tongue.’
So everything I know about animation that I can put into words, scribbles and drawings is here
in this book.
10
DRAWING IN TIME
Why animate? Everyone knows it's a lot of hard work doing all those drawings and positions.
So what's the hook? Why do it?
Answer: Our work is taking place in time. We've taken our 'stills' and leapt into another
dimension.
Drawings that walk : seeing a series of images we've made spring to life and start walking
around is already fascinating.
Drawings that walk and talk: seeing a series of our drawings talking is a very startling expe¬
rience.
Drawings that walk and talk and think: seeing a series of images we’ve done actually go
through a thinking process - and appear to be thinking - is the real aphrodisiac. Plus creating
something that is unique, which has never been done before is endlessly fascinating.
We've always been trying to make the pictures move, the idea of animation is aeons older than
the movies or television. Here's a quick history:
Over 35,000 years ago, we were painting animals on cave walls, sometimes drawing four pairs
of legs to show motion.
11
In 1600 BC the Egyptian Pharaoh Rameses II built a temple to the goddess Isis which had 110
columns. Ingeniously, each column had a painted figure of the goddess in a progressively
changed position. To horsemen or charioteers riding past - Isis appeared to move!
The Ancient Greeks sometimes decorated pots with figures in successive stages of action.
Spinning the pot would create a sense of motion.
As far as we know, the first attempt to project drawings onto a wall was made in 1640 by
Athonasius Kircher with his 'Magic Lantern'.
12 ,
Kircher drew each figure on separate pieces of glass which he placed in his apparatus and pro¬
jected on a wall. Then he moved the glass with strings, from above. One of these showed a
sleeping man's head and a mouse. The man opened and dosed his mouth and when his mouth
was. open the mouse ran in.
Although photography was discovered as early as the 1830s, most new devices for creating an
illusion of movement were made using drawings, not photos.
In 1824 Peter Mark Roget discovered (or rediscovered, since it was known in classical times)
the vital principle, 'the persistence of vision'. This principle rests on the fact that our eyes
temporarily retain the image of anything they've just seen. If this wasn't so, we would never
get the illusion of an unbroken connection in a series of images, and neither movies nor ani¬
mation would be possible. Many people don't realise that movies don't actually move, and that
they are still images that appear to move when they are projected in a series.
Roget's principle quickly gave birth to various optical contraptions:
The Thaumatrope: A cardboard disc mounted on a top - or held between two pieces of string.
A birdcage drawing is on one side and a bird on the other. When the top is spun or the strings
are pulled the disc twirls, the images merge and the bird seems to be in the cage.
The Phenakistoscope: Two discs mounted on a shaft - the front disc has slits around the edge
and the rear disc has a sequence of drawings. Align the drawings with the slits, look through
the openings and as the discs revolve we have the illusion of motion.
13
1
The 'Wheel of Life' (or the Zoetrope): Appeared in the USA in 1867 and was sold as a toy. Long
strips of paper with a sequence of drawings on them were inserted into a cylinder with slits in
it. Spin the cylinder, look through the slits and the creature appears to move.
The Praxi noscope: Devised by the Frenchman Emile Reynaud in 1877. He was the first to create
short sequences of dramatic action by drawing on a 30 foot strip of transparent substance
called Xrystaloid'. This opened the way for the tremendous advances to come.
The Flipper book: In 1868 a novelty called 'the flipper book' appeared worldwide and it
remained the simplest and most popular device. It's just a pad of drawings bound like a book
along one edge. Hold the book in one hand along the bound edge and with the other hand flip
the pages and 'see 'em move*. The result is animation - the illusion of continuous action.
Drawings in time.
14
This is the same as school kids making drawings in the corners of their math books and flipping
the pages.
Today the 'classical' animator still flips his drawings the same way as a flipper book before
testing it on the video or film camera. He places the drawings in sequence, with the low num¬
bers on the bottom, then flips through the action from the bottom up. Eventually he should get
good enough at it to approximate actual screen time and spot any errors or drawings that need
altering. Now that we have the video camera with its instant playback of the drawings at film
speed, not everyone learns to flip.
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In 1896 a New York newspaper cartoonist James Stuart Blackton interviewed the inventor
Thomas Edison who was experimenting with moving pictures. Blackton did some sketches of
Edison, who was impressed by Blackton's speed and drawing facility and asked him to do some
drawings in a series. Later, Edison photographed these - the first combination of drawings and
photography. In 1906 they publicly released Humorous Phases of Funny Faces. A man puffed a
cigar and blew smoke rings at his girl friend, she rolled her eyes, a dog jumped through a hoop
and a juggler performed. Blackton used about 3000 'flickering drawings' to make this first ani¬
mated picture - the forefather of the animated cartoon. The novelty brought explosions of
laughter and was an instant hit.
15
A year later Emile Cohl made and showed his first animated film at the Follies Bergeres in Paris.
The figures were childlike - white lines on black - but the story was relatively sophisticated: a
tale of a girl, a jealous lover and a policeman. He also gave lampposts and houses intelligence
and movement, with emotions and moods of their own. Cohl's work prefigures the later ani¬
mation dictum, 'Don’t do what a camera can do - do what a camera can't do!'
Winsor McCay, brilliant creator of the popular comic strip Little Nemo in Siumberland, was the
first man to try to develop animation as an art form. Inspired by his young son bringing home
some flipper books, he made 4000 drawings of 'Little Nemo’ move. These were a big hit when
flashed on the screen at Hammerstein’s theatre in New York in 1911.
As another experiment he drew a bizarre short film, How a Mosquito Operates, which was also
enthusiastically received.
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Then in 1914 McCay drew Gertie the Dinosaur and McCay himself performed 'live' in front of
the projected animation, holding an apple In front of Gertie and inviting her to eat. Gertie
lowered her long neck and swallowed the fruit - astounding the audience. This was the first
'personality' animation - the beginnings of cartoon individuality. It was so lifelike that the
audience could identify with Gertie. It was a sensation.
16
In McCay's words: 'I went into the business and spent thousands of dollars developing this
new art. It required considerable time, patience and careful thought - timing and drawing the
pictures [my italics]. This is the most fascinating work I have ever done - this business of
making animated cartoons live on the screen.'
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McCay also made the first serious dramatic cartoon, The Sinking of the Lusitania , in 1918.
A war propaganda film expressing outrage at the catastrophe, it was a huge step forward in
realism and drama - the longest animated film so far. It took two years of work and needed
25,000 drawings.
Later, as an older man being celebrated by the younger funny-cartoon animators in the busi¬
ness, McCay lashed out at them saying that he had developed and given them a great new art
form which they had cheapened and turned into a crude money-making business done by hack
artists.
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This well defines the endlessly uncomfortable relationship between the pioneering artist/ide¬
alist and the animation industry - working to comfortable and predictable formulas.
Still doth the battle rage ...
In the twenties Felix the cat became as popular as Charlie Chaplin. These short Felix cartoons
were visually inventive, doing what a camera can't do. But more importantly a real personality
emerged from this flurry of silent, black and white drawings and Felix 'himself' connected with
audiences worldwide.
The Felix cartoons led straight to the arrival of Walt Disney, and in 1928, Mickey Mouse took
off with his appearance in Steamboat Willie - the first cartoon with synchronised sound.
17
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The brilliant Ward Kimball, who animated Jiminy Cricket in Pinocchio and the crows in
Dumbo, once told me, ’You can have no idea of the impact that having these drawings suddenly
speak and make noises had on audiences at that time. People went crazy over it/
Disney followed Steamboat Willie with The Skeleton Dance. For the first time, action was co¬
ordinated with a proper musical score. This was the first Siiiy Symphony. Ub Iwerks was chief
animator on both films and a lot of the sophisticated action of The Skeleton Dance still holds
up today.
Disney leapt forward again in 1932 with Flowers and Trees - the first full colour cartoon.
18
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Then he followed it one year later with Three Little Pigs . This had a major impact because of its
fully developed ‘personality' animation - clearly defined and believable separate personalities
acting so convincingly that the audience could identify with and root for them. Another first.
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Astonishingly, oniy four years after that, Disney released Snow White and the Seven Dwarfs,
the world's first fully-animated feature-length film, raising cartoon drawings to the level of
art and holding the audience spellbound for eighty-three minutes, A truly staggering feat
accomplished in an incredibly short space of time. (It's said that many of the artists booked
themselves in advance Into hospital to recover from the effort of completing the film.)
The tremendous financial and critical success of Snow White and the Seven Dwarfs became the
foundation of Disney's output and gave birth to the 'Golden Age’ of animation: Pinocchio,
Dumbo, Bambi and Fantasia, as well as the Silly Symphonies and Donald Duck and Mickey
Mouse shorts.
19
Surrounding the potent Disney centre were the satellite studios: Max Fleischer with two fea¬
tures - Gulliver's Travels and Mr Bug Goes to Town - and Popeye shorts; Warner Bros' Looney
Tunes and Merrie Melodies with Bugs Bunny, Daffy Duck, Porky Pig; MGM with Tom and Jerry,
Droopy and the great anarchic Tex Avery shorts, and Walter Lantz with Woody Woodpecker.
Fed as they were by the knowledge and expertise emanating from the Disney training centre,
their much wilder humour was often in reaction to or in rebellion against Disney 'realism' and
'believability'.
But after the Second World War the situation changed.
The arrival of television and its voracious appetite for rapidly produced product demanded sim¬
pler and cruder work. 1950s stylisation gave birth to UPA studios in Hollywood who created
Mr. Magoo and Gerald McBoing Boing. UPA's approach was regarded as more graphically
sophisticated than Disney and used more 'limited' and much less realistic animation. At the
same time there was a worldwide flourishing of personal, experimental and 'art house* ani¬
mated films made in new ways with many different techniques and with very different content
to the Hollywood product Animators were reinventing the wheel stylistically but were ignorant
of the structural knowledge developed in Hollywood's Golden Age.
This knowledge, though residing in the hands of the originators, was generally ignored as
being ‘old hat' or was forgotten in the following thirty years.
However, in the last few years, the renaissance of animation as a form of mass entertainment
is giving rebirth to the old knowledge. The startlingly successful innovations of computer ani¬
mation are helping to transform animation in all it's multi-faceted forms into a major part of the
entertainment mainstream. Alongside this, there is also the explosion in the computer games
industry.
If drawn 'classical' animation is an extension of drawing, then computer animation can be seen
as an extension of puppetry - high tech marionettes. Both share the same problems of how to
give a performance with movement, weight, timing and empathy.
The old knowledge applies to any style or approach to the medium no matter what the
advances in technology. Most of the work methods and devices in this book were developed
and refined in the Hollywood animation studios between 1930-1940.
I've co-ordinated what I've learnt from various approaches and I’m presenting it here in a form
based on my own experience in this medium - with its limitless possibilities of imagination.
Emery Hawkins said to me, 'The only limitation in animation is the person doing it. Otherwise
there is no limit to what you can do. And why shouldn't you do it?’
t meticulously painted this poster for the 1981 London Film Festival, Everybody said, l Oh , I didn't know you die! collage/
21
.USE®
22
TIME TO DRAW
This section is really for classical animators. However, I haven't been surprised to find that most
of the leading computer animators draw rather well, so it may be interesting to them too. It
certainly helps enormously to be able to put down your ideas - even in stick figures. For the
classical animator it is crucial.
Drawing should become second nature, so that the animator can concentrate on the actual
actions and the timing of them and give the performance life.
When you're doing cartoons all the time, it's very easy to slide into formula drawing. During
the making of Who Framed Roger Rabbit I found this pinned up on our notice board:
Fb w ^ FCl ^ A
Cjo rMc “R-a & s t' 5 ;
■ ^"H{5 Ro fL
co*A\C
pAiC>,
So lAJ TH£ fWb
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fe.A<S»tC- rtA&lTS
CoMic.
\TJ AA A *
Life drawing is the antidote to this.
When you're doing life drawing, you're all alone. One of the main reasons animators - once
they become animators - don't like to spend their evenings and spare time life drawing is
because it's not a collaborative operation.
Animation is usually a group effort, and one has the stimulus of constant interaction, both
competitive and co-operative, with the cut and thrust, highs and lows, political factions of
complaint and inspiration, all the tensions and anxieties, rewards and excitement of group
production.
23
With life drawing there's no one to admire your efforts - rather the reverse. It's always shocking
to find you're not as advanced or skilled as you thought you were, and since it's about the hard¬
est thing to do with no rewards other than the thing itself - it's no wonder few do it or stick at ft
Most animators are exhausted at the end of a day's work and have families to go to. Also, one
has to do a lot of life drawing to get anywhere - not just a bit at a time here and there.
But the fact remains that there is no replacement for the hard work of solid life drawing.
There is one payoff and it is substantial - the gradual and fundamental improvement of all
one's work.
Winsor McCay once said: 'If I were starting over again, the first thing I'd do would be to make
a thorough study of draftsmanship. I would learn perspective, then the human figure, both
nude and clothed, and surround it with proper setting.'
And Milt Kahl said: ‘I don't think it's possible to be a top notch animator without being an
excellent draftsman. You have to try for the whole thing, you know, got to know the figure.
Know the figure well enough so that you can concentrate on the particular person - on the
difference - why this person is different from somebody else. The ability to draw and be able
to turn things and the ability, the knowledge that enables you to caricature and to exaggerate
in the right direction and emphasise the difference between things is what you’re doing all the
time. Any time you're doing a strong drawing of anything well, your drawing is strong because
you're depicting why this is different from something else. You need that figure-drawing back¬
ground in order to sharpen. Every animator should have this background and unfortunately
they don't! You just can't know too much, if you're going to lampoon something, or do a satire
- you have to understand the straight way. It gives you a jumping-off point, it gives you a
contrast. You just do it and do it... and do it!'
24
Art Babbitt is blunter: ‘If you can't draw - forget it. You're an actor without arms and legs.'
But we can learn to draw. There's the myth that you are either a born draftsman or not. Wrong!
Obviously, natural talent is a great help and the desire is essential, but drawing can be taught
and drawing can be learnt. Its best to have done a ton of it at art school to get the foundation
in early. But it can be done at any time. Just do it.
Here are three pieces of drawing advice that were given to me - and which stuck.
When I was fifteen years old and really keen on being an animator, I took a five day-and-night
bus trip from Toronto to Los Angeles, and walked up and down outside the Disney Studio fence
for days hoping to get inside. Finally an advertising friend of my mother’s saw my drawings and
rang up the Disney PR department, and they took me into the Studio for two days; they were
very kind to me and even did a press story on me.
It was there that I received my first piece of great advice. Richard Kelsey (Disney story artist and
designer/illustrator) said, 'First of all, kid, learn to draw. You can always do the animation stuff
later.'
>
I desperately wanted to become an animator and I produced my sketches of Disney characters,
which were kind of at the Roger Rabbit level since I was a precocious little bastard. Dick Kelsey
looked at them and said, 'Yes, but I mean really iearn to draw.'
25
rz <e se\ .yith eager beaver. Disney studios, 1948, My commercial work, age 17.
Weeks later when I was getting on the bus to go home to Toronto, I rang Dick up and asked
again, 'What do you think ! should do?' - 'Learn to draw!’ he said.
One great regret I have in my life is that forty years later, when I was animation director on
Who Framed Roger Rabbit, I saw Dick in the Disney canteen out of the corner of my eye, but I
was so caught up in the production politics I didn't break away to go over and thank him. I
never had another chance.
After my trip I went straight to art school and received the second piece of advice, from a great
teacher and superb draftsman, Eric Freifield, then teaching at the Ontario College of Art. He
looked at my life drawings and said, 'Well, here's a clever little fellow who’s never seen any¬
thing.' I said, 'What should I do?' He said, ‘Go to the library and look at Albrecht Diirer for two
years.' I did. And not surprisingly my interest in animation vanished for years.
I paid my way through art school by knocking off Disneyesque dog food ads like the one
above - at the same time doing 'realismo social' like this lithograph of a revival meeting
‘Where the healing waters flow'.
After that I lived in Spain for a couple of years doing paintings like these until a totally
unexpected affliction by the animation bug got me. Forty years later a top executive on Who
Framed Roger Rabbit kept referring to me as 'artsy craftsy' or ‘artsy fartsy'. How did he ever
know? He must have smelt it as there was no sign of it in my animation.
26
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27
The third piece of drawing advice came many years later - I was fifty - when I was pretty
accomplished, and it came from a much younger man. My talent is primarily 'linear', which
makes cartooning easy. However, since animators have to enclose their shapes, there is a ten-
■t
dency to end up just drawing outlines - like colouring-book figures. In other words, animators
don’t usually draw from the inside-out, like a sculptor does. Sculpture had been my weakest
subject - although I'd done a lot of life drawing and had a grounding in basic anatomy.
John Watkiss - then a twenty-three-year-old, self-taught, brilliant draftsman and anatomist -
held his own life drawing classes in London. (Recently he was one of the principle designers of
Disney's Tarzan.) I used to hire John periodically to do presentation artwork and we were
friendly. I went to John's evening life classes for a while and one day John, who is ruthlessly
honest, pointed to my drawing and said, 'Hey! You missed a stager I felt like a butterfly pinned
to the wall. He was right I knew exactly what he meant. I was weak from a sculptural point of
view. I was too linear.
Years later, when I had dropped out of the 'industry' part of animation, I re-studied my anato¬
my and worked on drawing from the inside-out. 1 advanced backwards and filled in the
missing stage.
28
I showed my ex-illustrator mother several of these life drawings when she was bed-bound just
before she died. I've been working at reconstituting myself, Mom, doing all these drawings.'
She looked at them carefully for some time, then said, 'Very nice, very nice . .. Nothing new.’
Advice from the inside - from one’s family - somehow doesn't have the same impact as from
the outside. However my mother had once said, ‘When you go to art school, you’ll find every¬
body sitting around practising how to do their signature,' and sure enough, there they were,
some of them doing just that.
She also gave me this great advice: ‘Don't try to develop a style. Ignore style. Just concen¬
trate on the drawing and style will just occur.'
Of course there's an opposing view to all of this 'you've got to learn to draw' stuff.
The great Tex Avery, master of animation's ability to do the impossible and make the unreal
spring to life - and the first director of Bugs Bunny and Elmer Fudd - said:
‘I was never too great an artist. I realised there at Lantz’s that most of those fellows could
draw rings around me ... i thought. Brother! Why fight it? i'll never make it! Go the other
route. And I'm glad I did. My goodness, I've enjoyed that a lot more than I would have
enjoyed just animating scenes all my life.'
29
Tex stopped animating and became a great, original and innovative director. The biographer
John Canemaker said: 'While Disney in the 1930s was trying to convince the audience of the
“reality" of his characters in his film world, by creating his “illusion of life", Tex went in the
opposite direction, celebrating the cartoon as cartoon, exploring the medium's potential for
surrealism.' He never let audiences forget they were watching an animated film.
Tex had a twenty-year run with his wildly funny approach to the medium, but he found it
impossible to sustain. 'I'm burned out,' he said. His colleague, animator Mike Lah said, 'He
didn't have any more space. He used it up.'
1 love Tex Avery's cartoons - his drawings and character designs. His Droopy is my favourite
cartoon character. One of the nice things about doing Who Framed Roger Rabbit was to emu¬
late Tex Avery's humour - 'But not so brutal!' were my instructions. Though, as Milt said, 'You
have to try to have the whole thing.’
I am convinced that if an animator's drawing foundation is strong, he will have the versatility
to go in all the different directions possible at his fingertips. He'll be able to draw anything -
from the most difficult, realistic characters, to the most wild and wacky. And it's not likely he'll
exhaust his resources and suffer burn-out.
Because of his strong drawing ability, Milt Kahl was usually saddled with animating 'the Prince'
or Disney's 'straighter' characters - which of course are the hardest ones to do. Whenever any¬
one criticised his work, he'd say, 'OK, you can do the Prince.' And they'd soon vanish.
Word spread among the more 'cartoony' artists that, 'Milt draws beautifully but he can only do
the straight stuff and he can't handle zany stuff at all.' Then, between features. Milt animated
most of Tiger Trouble, a 'Goofy' short. Everybody shut up, and stayed shut up. His work is a
classic of broad and crazy animation.
'If you can draw funny that's enough' is an animation myth that's been around a long time, and
still seems to persist. This is because a few of the early animators lacked sophisticated drawing
skills - but nevertheless were very inventive and excellent at getting the essence of the drama
and performance.
The myth was that all they needed was to have a good draftsman as an assistant to do the final
drawings and everything would be fine. But in the mid thirties, when the new wave of young
animators with better drawing skills came on the scene and learned from the old guys, the
ground was soon littered with out-of work animators who could only handle the cruder car¬
toons. The new breed of better draftsmen took their jobs away from them. If the present boom
in this medium ever contracts it's certain that the more skilled artists will be the survivors.
Bill Tytia - famous for his animation of Stromboli in Pinocchio, the Devil in 'Night on Bald
Mountain' from Fantasia , and Dumbo with his mother - once said: 'At times you will have to
animate stuff where you can’t just be cute and coy. Those are the times when you’ll have to
know something about drawing. Whether It's called form or force or vitality, you must get it
into your work, for that will be what you feel, and drawing is your means of expressing it.'
30
■. fc-lWl
rT^-.r
Obviously all this doesn't apply so much to computer animators since the 'maquette' of the
character is already planted inside the machine, ready to be manipulated. But since most of the
leading computer animators draw rather well, many work out their positions in small sketches,
and, of course, the planning, layout and story artists and designers draw exactly the same as
their classical equivalents.
I had an unnerving experience in Canada when a friend asked me to give a one-hour address to
a large high school gathering of computer animation students. They had a very impressive
set-up of expensive computers but, from what I could see of their work, none of them seemed
to have any idea of drawing at all. During my talk I stressed the importance of drawing and the
great shortage of good draftsmen.
A laid-back greybeard professor interrupted to inform me, 'What do you mean? All of us
here draw very well.'
Words failed me.
At the end of the talk, I showed them how to do a basic walk, and as a result got mobbed
at the exit, the kids pleading desperately for me to teach them more, i escaped, but I’m afraid
that's what the situation is out there - a lack of any formal training and no one to pass on the
‘knowledge'.
You don't know what you don't know.
One of the problems rampant today is that, in the late 1960s, realistic drawing generally
became considered unfashionable by the art world, and no one bothered to learn how to do it
any more.
The Slade school in London used to be world-famous for turning out fine British draftsmen. A
distinguished British painter who taught at the Slade asked me, 'How did you learn how to do
animation?' I answered that I was lucky enough to have done a lot of life drawing at art school,
so without realizing it i got the feeling for weight which is so vital to animation.
Then I said, 'What am I telling you for? You're teaching at the Slade and it's famous for its
life drawing and excellent draftsmen.'
'If the students want to do that,' he said, 'then they've got to club together and hire them¬
selves a model and do it in their own home.' At first i thought he was joking - but no! Life
drawing as a subject went out years ago. It wasn't even on the curriculum!
! had a boyhood friend who became a bigwig in art education circles. He ran international
conferences of the arts. About sixteen years ago he invited me to Amsterdam to a conference
of the deans of the leading American art colleges. He knew me well enough to know I was
bound to say controversial things, so I was invited as his wild card.
in my talk 1 found myself lamenting the lack of trained, talented artists and that I was ham¬
pered in my own studio's work because I couldn't find trained disciplined artists to hire. The
applicants' portfolios were full of textures, abstract collages, scribbles, often nude photos of
themselves and friends. No real drawing. I didn't realise how strongly I felt about this and as I
talked I found myself nearly in tears.
32
My advertising campaign design for Mike Nichols' The Graduate. A foundation of life drawing was invaluable
when I had to draw this simple teg for this movie logo.
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I harangued the deans of the art schools for failing in their duty to provide proper skills to their
students. Surprisingly, when I finished, the deans called an emergency meeting to which 1 was
invited. 'Look Mr. Williams,' they said, ‘you're right, but we have two problems. Number one:
since classical drawing was rejected years ago, we have no trained teachers who can draw or
teach conventional drawing as they never learned it themselves. And number two: our mostly
rich students - on whom we count for our funding - don’t want to learn to draw. They would
rather decorate themselves as living works of art - and that’s exactly what they do.'
So I said, 'Look, all I know is that I can't find people to hire or train; but otherwise I don't know
what you can do.'
They said, 'Neither do we.'
Lately things have improved somewhat. So-called classical drawing seems to be coming back,
but with a hyper-realistic photographic approach because skilled artists are thin on the ground.
Shading isn't drawing, and it isn't realism.
Good drawing is not copying the surface. It has to do with understanding and expression. We
don't want to learn to draw just to end up being imprisoned in showing off our knowledge of
joints and muscles. We want to get the kind of reality that a camera can't get. We want to
accentuate and suppress aspects of the model’s character to make it more vivid. And we want
to develop the co-ordination to be able to get our brains down into the end of our pencil.
Many cartoonists and animators say that the very reason they do cartoons is to get away from
realism and the realistic world into the free realms of the imagination. They'll correctly point
out that most cartoon animals don't look like animals - they're designs, mental constructs.
Mickey ain’t no mouse, Sylvester ain't no cat. They look more like circus clowns than animals,
Frank Thomas always says: 'If you saw Lady and the Tramp walking down the road, there's no
way that you are going to buy that they're real dogs.'
But to make these designs work, the movements have to be believable - which leads back to
realism and real actions, which leads back to studying the human or animal figure to under¬
stand its structure and movement. What we want to achieve isn't realism, it's believabiiity.
While Tex Avery released the animator from the more literal approach in order to do the impos¬
sible, he was only able to do it so successfully because his animation was mostly done by
Disney drop-outs who already had 'the Disney knowledge' of articulation, weight, etc. So,
ironically, his rebellion, his ‘going the other route', had its basis in an underlying knowledge of
realism.
But don't confuse a drawing with a map! We're animating masses, not lines .So we have to
understand how mass works in reality. In order to depart from reality, our work has to be based
on reality.
i
34
[T'S ALL IN THE TIMING AND THE SPACING
I met Grim Natwick {born Myron Nordveig) in a Hollywood basement when he was in his
eighties. Grim was the oldest of the great animators, being already in his forties when he
animated eighty-three scenes of Snow White in Disney's Snow White and the Seven Dwarfs.
Previously, he'd designed Betty Boop for Max Fleischer, for which he received nothing and was
furious about it ‘til the day he died, aged 100.
I'll never forget the image of this big Norwegian American sitting in the golden twilight,
extending his long arms and spatula hands saying ...
! A 'A -A- ANIMATION IT'S. .A-A-AU-
■ A-A-AIVP /Al■ • •
Lorn pauseY..
IN THE TIMING
THE SPACING-.
.. STZAY-y-Y- N-NO £.■■■ THAT THE
AMFP\CAUG . WERE the opes
TO WORK THIS OUT..
35
The bouncing ball says it all.
The old bouncing-ball example is often used because it shows so many different aspects of
animation.
A ball bounces along.
and where it hits - the 'boinks' - that's the timing. The impacts - where the ball is hitting the
ground - that's the timing of the action, the rhythm of where things happen, where the 'accents'
or 'beats' or 'hits' happen.
And here's the spacing.
The ball overlaps itself when it’s at the stow part of its arc, but when it drops fast, it's spaced
further apart. That's the spacing. The spacing is how close or far apart those clusters are. That's
it. It's simple, but it's important. The spacing is the tricky part. Good animation spacing is a rare
commodity.
36
So we have:
The two basic elements of animation.
To experience this, take a coin and film it in stages under a video camera.
First plot out the timing -where you want the ball to hit the ground. Then push the coin around
- taking a picture at each frame - and see what looks right or wrong. Try it with different
timings and spacing. You're already animating. You're already dealing with the important
fundamentals and you haven't even made a single drawing. You're doing pure animation
without any drawings.
37
Hidden in this simple test is the weight of the ball - how it feels, light or heavy; what it's
made of, Is it large or small, moving fast or slow? This will all emerge if you do several tests
- which only take a few minutes to do. The importance of the timing and the spacing will
become obvious.
Because you did it, a certain amount of personality will creep into the action - whether the ball
is deliberate, slow, jaunty, erratic, cautious, even optimistic or pessimistic.
And all this, before you've made a single drawing. This reveals how important and dominant
the timing and the spacing is. Even if the ball positions were drawn in detail by Michelangelo
or Leonardo da Vinci, the timing and the spacing of the drawings will still dominate.
Another interesting way to experience the difference between timing and spacing right away
is this:
Let's put a coin under the video camera and move it across the page (or screen) in one second
- 24 frames of screen time. That's our timing.
We'll space it out evenly - and that's our spacing.
-ctP
T
7
JS.
MJPPt-E
J
|
f
!
(
HOlP
Now we'll keep the same timing - again taking one second for the coin to move across the
page. But we'll change the spacing by slowly easing out of position number 1 and easing grad¬
ually into position number 25.
HOH> MlPTH-E HOt- P
It still takes one second for the coin to get over there. It has the same timing - but there is very
different movement because of the different spacing. Both start together - and both hit the
middle together - but the spacing is quite different. And so the action is very different.
38
You could say that animation is the art of timing. But you could say that about all motion
pictures.
The most brilliant masters of timing were the silent comedians: Charlie Chaplin, Buster
Keaton, Laurel and Hardy.
Certainly for a film director, timing is the most important thing. For an animator, it's only half
the battle. We need the spacing as well. We can have a natural feel for timing, but we have to
learn the spacing of things.
One other thing: The bouncing ball example is often used to show animation ‘squash and
stretch' - that is, the ball elongates as it falls, flattens on impact with the ground and then
returns to its normal shape In the slower part of Its arc.
It might squash and stretch this way if it was a very soft ball with not much air in it, but what
I've found is that you can get a good enough effect with a rigid coin - provided the spacing of
it was right - so this added technique is not always necessary. Certainly a hard golf ball isn't
going to bend all over the place. In other words, if you do this squishy squashy thing too much,
everything comes out a bit 'spioopy', like it's made of rubber. Life ain't like that. At least most
of it ain't. More about this later.
Golf ball bounce, 1951
Having established all this, let's go to lesson one:
39
Stills from Charles Dickens 1 A Christmas Carol. 1972. We re starting to get better. J got my first Oscar for this half-
hour film made originally for TV. You wouldn't think a lot of this was drawn by Bugs Bunny animators! ft couldn't
have been done without Ken Harris who carried the load on Scrooge. Towards the end, Chuck Jones (the Executive
Producer) lent us Abe Lev tow. a great unsung animator with majestic qualities. We also had help from Disney alumni
George Nicholas and Hal Arnbro. My own stalwarts were Richard Purdum, Sergio Simon ettl and Roy Naisbitt,
40
LESSON ONE
UNPLUG!
Unplug! Take off your head phones! Turn off the radio! Switch off the CD! Turn off the tape!
Close the door.
Like many artists, E had the habit of listening to classical music or jazz while working. On one
of my first visits to Milt Kahl I innocently asked;
MU-T, PO yOU Li STEW TO
classical m us ic m YOU'RE WO&tltlG ?
41
Since it came from a genius, this made quite an impression on me. After this I learnt to face the
This has been the case with many artists when I've passed this wisdom along. Recently, two
previously sound-addicted computer animators were shocked to find that their plugged-in
colleagues instantly made them objects of ridicule for not having wires coming out of their
ears. They were even more surprised at the startling improvement in their work.
... end of lesson one.
45
ADVANCING BACKWARDS TO 1940
Let’s advance backwards to approach where animators were during the ‘Golden Age'. And then
go forward from there - so we can do new things.
The thing you are going to build on must be basic.
Everyone wants to decorate their house with interesting pieces before putting in the corner¬
stones and supports. Everyone wants to jump ahead to the sophisticated bit - glossing over
the dull, old support work.
But it’s the thorough understanding of the basics that produces real sophistication.
As Art Babbitt said:
The knowledge that went into making little drawings come to life is in the early Disneys,
Nobody taught us how to articulate these fanciful characters. We had to discover the
mechanics ourselves and pass them around amongst each other. There are many styles but the
mechanics of the old Disney animation remain.'
They had it all worked out by 1940, around the time that Pinocchio was released,
ft was a wonderful system - precise and simple.
First we'll take it bit by bit - and then we'll put it all together.
46
A very interesting thing happened when we worked with Grim Natwick. He was so old that
each day he tended to snap back into a different professional period of his life: one day he
would come in and do circular 'rubber hose' animation from the 1920s, then the next day he
would be in a 1936 1 Snow White' phase, making tons of smoothly moving drawings, the next
day would be sharp, physical actions with plenty of static holds from his 1950 UFA 'Mr Magoo'
period, then he'd be doing as few drawings as possible, as if he were animating a 1960s TV ad,
and then the next day back into fulsome Fantasia mode.
One day I found him drawing in an old style - something like this:
He wasn't just showing the arc of the action - he was indicating all the different spacings on
his drawing.
I suddenly realised that this was probably the origin of the charts that animators put on the
edge of their drawings
I asked, ‘Hey, Grim - did these charts just gradually move across the page away from the
drawings?
A far-away look came into his eyes -. Yes ..,'
47
In the 1920s, animators did most of the work themselves. Dick Huemer was the top New York
animator and was working for Max and Dave Fleischer on their Mutt and Jeff series. Dick told
me they said to him, 'Your work is great, Dick, but we can't get enough of it/ So Dick said to
them, 'Give me someone to put in the in-between drawings and I'll do two to three times as
much work.’ And that was the invention of the 'inbetweener'.
Dick later said in an interview that it had been the Fleischers' Idea and that he just went along
with it. But Dick actually told me that he had invented the inbetween and the inbetweener, the
helper or assistant.
The main drawings or extreme positions came to be called extremes and the drawings in
between the extremes were called the inbetweens.
The chart shows the spacing.
EXTR&Vfi
jrX”T
We'li put in three even inbetweens between the two extremes.
Number 3 is smack in the middle between 1 and 5. Then we put number 2 right in the middle
between 1 and 3 - and number 4 in the middle between 3 and 5. We've got the inbetweens
spaced evenly.
Take the example of a swinging pendulum: The extremes are where there is a change in
direction - the ends of the action where the direction changes.
. — exi&sme
48
EXTREME
Because the pendulum's arm maintains its length as it swings, the middle position creates an
arc in the action. We can see how important that middle position between the two extremes is
going to be to us.
it's obvious how important this middle position is. In the 1930s they called this the 'break¬
down' drawing or 'passing position' between two extremes.
We'll add two inbetweens.
1
OR
Pass w6t
Fosmm iHBzwEm
z
3
4-
o
Some animators underline the breakdown or passing position because it's so important to the
action. I have the habit of doing this because it's a position which is crucial to helping us invent.
We're going to make tremendous use of this middle position later...
49
If we want to make our pendulum ease in and out of the extreme positions, we'll need a
couple more inbetweens:
So our chart will look like this,
/ i 3 ± 6 a7
H_)— I —|—|—|
What we're doing is easing in or easing out of the extreme positions. 'Slowing in' or ‘slowing
out' is the classical terminology for it, but I prefer today's computer animators' term of 'easing
in’ and ‘easing out'.
To make the action even slower at the ends, let's add a couple more inbetweens.
Ken Harris always called it 'cushioning' * which is a nice way to think of it.
Master animator Eric Larson - who became the instructor of the younger Disney animators
says that what animation has to have
is a change of shape.
So, let's change from a closed hand
to a pointing finger.
C-x
4 \
*5
If we 'ease out' of number 1 in order to point - number 5 - the chart will be:
O -■]£>■
oU*7
asrr
out
Alternatively, if we ‘snap out' or 'speed out' of the closed hand and 'ease in' or 'cushion in' to
the pointing finger the chart will be:
For a more relaxed, slower action we could add more inbetweens and ease out of the closed
hand, and speed through the middle, and then ease in to the pointing finger.
/
51
The animator can get away with just drawing the two extreme positions and making a chart for
the assistant to put in all the inbetween positions,
i was spoilt by being taught by marvellous, hardworking, top Hollywood animators and I had a
few shocks when I worked with some of the lesser mortals.
Here's how a Hollywood hack animator might duck the work:
A character enters screen left.. . and goes out screen right.
To walk across the screen it's going to take 4 seconds - 96 frames. So the animator does draw¬
ing number 1 and drawing number 96 and gives this chart to the assistant and goes off to play
tennis. He wanders back in next day and blames the assistant for the terrible result.
This may seem far-fetched, but it does happen.
Moving on - we know the extremes and the breakdowns are crucial to the result, but the
inbetweens are also very important.
The genie in the computer creates perfect inbetweens, but for 'drawing' people - getting good
inbetweens can be a real problem.
Grim Natwick constantly intoned, 'Bad inbetweens will kill the finest animation.’
in 1934, when the novice Milt Kahl - having just started work at Disney - first met the great
Bill Tytia, he told Tytla that he was working in the inbetweening department Tytla barked, 'Oh
yeah? And how many scenes have you screwed up lately?’
52
Like most people starting out, I did all my own inbetweens. Then I got my first 'official' job
animating for UPA in London. They gave me an inexperienced assistant who drew well, but this
is what happened:
We had a simple character of the period, a little girl called Aurora who was advertising Kia Ora
orange drink. 'Where's the Kia Ora, Aurora?'
She looked like this.
I drew drawings 1 and 3 and 5, my assistant put in inbetweens 2 and 4.
z 4-
4
A A
He had ambitions as a designer and he didn't like egg-shaped eyes like this: f J * ;
\. 4 '
He liked circular eyes like this: (J) .A
So the inbetweens all went in like this:
The result on the screen, of course, is this:
Wobble, wobble, wobble.
As is common in production when racing to meet the deadline, we end up hiring anybody off
the street who can hold a pencil. And this is what happens:
Say a live actor is holding an animated coffee cup -
The inbetweener from the streets doesn’t understand simple perspective - so the curved top of
the cup gets put in straight on the inbetweens.
I
Result: 'Frying tonight/ Wobble, wobble, wobble
And if it's this wobbly with a simple thing, just imagine what it's going to be like when we are
dealing with complex drawings. All the shapes will be doing St Vitus's dance. So the assistants’
or inbetweener's job is really volume control.
A lot of assistants worry about the quality of their line - matching the animator's line quality, t
always say never mind the line quality - just get the volumes right. Keeping the shapes and
volumes consistent = volume control! When the thing is coloured in, it’s the shapes that we see
- it's the shapes that dominate.
54
Whenever we were under the gun and short of skilled helpers, we found if we outnumbered the
dodgy inbetweens by three good drawings to two bad ones - we just scraped through with an
acceptable result.
When we only had two good ones with three bad ones in between them - the bad ones out¬
numbered the good ones and the result was lousy.
<Sco£>
/
— (•
t
4 -
f£oo£>
5
BAD BAP BAD
i
if the breakdown or passing position is wrong, all the inbetweens will be wrong too.
£jcop
I
0
3
BAP
Bi^AKoom
4“
5
GrCW
& 7
j| ..j »l| Tl
1 SAP BAP
I '
BAD l?AP
When we're not accurate, here's what happens: The animator supplies a chart and wants equal
inbetweens. This is putting them in the right place.
But let's say the assistant puts the breakdown or passing position slightly in the wrong place -
m li^RB ... NOT OK-
55
1H£K
IN
So: Number 4 is wrong.
3 compounds it.
2 compounds it more.
And instead of ending up with fluid actions like this -
- well get this all-over-the-place kind of thing.
One thing an animator should never do is to leave his assistant to make 'thirds'.
12-2 4 -
If we need to divide the chart into thirds - |--j .f-- —|
- the animator should make one of the inbetween positions himself -
{ 2 - 3 4
- in order to leave the assistant to put in the remaining position in the middle.
56
Leaving thirds to the assistant is cruel and is asking for trouble - but it's fair to make a chart like
this, calling for an inbetween very close to an extreme:
MAKE Om /AlStWN
MA KjE ONE I^TWN OUQZ 10
MAKE ewe (STWN CU£^ jb i
MAKE ANOTH^ ISWiH CUX^fZ TO- 4-
And now we come to the Great Circling Disease. For some reason, animators just love circles.
We love to circle the numbers on our drawings. Maybe it's because, as old Grim Natwick said,
'Curves are beautiful to watch.’ Or maybe it's just a creatively playful thing.
I once worked with a Polish animator who circled every single drawing he made!
‘Is animation, man! Circle! Circle! Circle!'
You'll notice that so far I haven't circled any extreme positions. In this clear working system
and method developed by the 1940s, the extremes are not circled, but the key drawing is. The
drawings which are circled are the 'keys'.
Question: What is a key?
Answer: The storytelling drawing. The drawing or drawings that show what's happening in
the shot.
57
If a sad man sees or hears something that makes him happy, we'd need just two positions to
tell the story.
These are the keys and we circle them.
These are the drawings we make first. How we go interestingly from one to the other is what
the rest of this book is about.
Take a more complex example:
Let's say a man walks over to a board, picks up a piece of chalk from the floor and writes some¬
thing on the board.
If it was a comic strip or if we wanted to show what's happening on a storyboard, we'd need
only three positions. We'll keep it simple and use stick figures so we don't get lost in detail.
These three positions become our keys and we circle them.
The keys tell the story. All the other drawings or positions we'll have to make next to bring the
thing to life will be the extremes (not circled): the foot 'contacts', the passing positions or
breakdowns and inbetweens.
58
tf we time this action out with a stopwatch, we might find that our first key position at the start
will be drawing 1. Say it takes him 4 seconds to walk over and contact the chalk on the floor-
we'd circle the second key drawing as 96. And when he's stood up, stepped over and written
his stuff, it might take another 4 seconds - so our third key could be the last drawing in the shot
-192. The whole shot would then take 8 seconds.
Of course, we don't need to time it all out first, but before we dive into animatorland with ail
that stuff, we have to clearly set out with our keys what it is we're going to do - and we can
test our three drawings on film, video or computer.
We haven’t dealt with how he or she moves - whether the character is old or young, fat or thin,
tall or short, worried or happy, beautiful or ugly, rich or poor, cautious or confident, scholarly or
uneducated, quick or slow, repressed or uninhibited, limping or fit, calm or desperate, lazy or
energetic, decrepit or shaking with the palsy, drunk or frightened, or whether it's a cold-hearted
villain or a sympathetic person - in other words ail the ‘acting* stuff, plus all the trimmings -
clothes, facial expressions etc.
But what we have done is made it very plain what happens in the shot before we start.
If we were to make a diagrammatic chart of the whole scene, it would end up looking some¬
thing like this:
pLUi. KPDWfiS. ANP> tWE£N£
59
important animators are called key animators, and word got round that they just draw the
keys - anything that they draw is a key - and slaves fill in the rest according to the little
charts provided by the key animators. Wrong. A key animator is simply like a key executive
- an important one.
Many good animators call all their extremes 'keys' - i sure used to. But it makes life so much
clearer and easier if you separate the keys from the extremes. Actually, I never heard Ken Harris
ever call a drawing a key, but he would say, 'Draw that one first. That's an important drawing.'
And it was a key, really.
I've worked every system, good, bad or half-baked, and experience has convinced me that it’s
best - even crucial - to separate the storytelling keys from the extremes and ail the other stuff.
(Of course, as in our example above, the three keys will also function as extremes.) Separating
them out stops us getting tangled up and missing the point of the shot, as we vanish into a
myriad of drawings and positions.
There may be many keys in a scene - or maybe just one or two - it depends on what it is and
the length of the scene. Its whatever it takes to put it over, to read what's to occur.
You can spend time on these keys.
I remember once visiting Frank Thomas and he was drawing a cat. 'Dammit,' he said. 'I’ve been
working all day on this damn drawing - trying to get this expression right.’
i was shocked. All day! Wow! That was the first time I ever saw anyone working so hard on a
single drawing. How was he ever going to get the scene done? Finally, the penny dropped. ‘Of
course, stupid, Its his key]' It's the most important thing in the scene! He's got to get that right!
And it was encouraging to see anyone that great struggling to get it right!
We just start drawing and see what happens - like a kid drawing in the page comers of a
schoolbook ~ stick the numbers on afterwards,
Disney director-animator Woofie Reitherman said, 'When I didn't know what I was doing in an
action, I always went straight ahead. I'd just start on ones. Half the time I didn't know what I
was doing. To me, it’s fun. You find out something you wouldn't have found out otherwise.'
Api/anta^^s
WE <3&T A AMTU PAL FLOW OF
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Tie. FiGtir PLACE AT%t RIGHT V MB
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m/sHE CAN'r SEE WHATC HAPPEN WO
-—- i vt LOTS OF WORK 7O CLEAN UP
The M0GS AFTERWARDS ~ W ITS
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,—- ITS EXPENSIVE - The PRODUCER
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. — IT Can be hard on iu nerves -
map artist dull Nervous break¬
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leap IN 2>vo THRASH AROUND
IN Tkt VOID - ESPECIALLY WITH
.looming deadlines.
61
2. The planned way, called
First we decide what are the most important drawings - the storytelling drawings, the keys -
and put them in. Then we decide what are the next most important positions that have to be in
the scene. These are the extremes and we put them in - and any other important poses. Then
we work out how to go from one pose to another - finding the nicest transition between two
poses. These are the breakdown or passing positions. Then we can clinically make clear charts
to cushion and ease in and out of the positions and add any finishing touches or indications for
the assistant.
( POSE TO POSE
To illustrate how effective the pose to pose method is, the brilliant Disney art director-designer
Ken Anderson told me that when he was making layout drawings of characters for animators
working on Snow White and the Seven Dwarfs, he drew lots and lots of key poses of Grumpy
for each shot Ken's drawings were then given to one of the Grumpy animators. Ken found out
later that the guy just put charts on the drawings, handed them to his assistants and went off
to lunch, and took the credit, for what in effect, was Ken’s fine animation.
WE Get Cd ry:
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So it's pretty obvious the best way to work is going to be:
First we plan out what we're going to do in small thumbnail sketches. (It's also a good idea to
have done this with the other two methods.)
Then we make the big drawings - the storytelling drawings, the keys. Then we put in any other
important drawings that have to be there, like anticipations or where hands or feet contact things
- the extremes. Now we have the structure, just as we had with the pose-to*pose system.
But now we use these keys and important extremes as guides for things and places we want to
aim at. After you get your overall thing - go again. Do one thing at a time. We'll work straight
ahead on top of these guideposts, improvising freely as we go along.
We'll do several straight ahead runs on different parts - taking the most important thing first
We may have to change and revise parts of the keys and extremes as we go along, rubbing bits
off and re-drawing or replacing them.
So: we make a straight ahead run on the primary thing.
Then take a secondary thing and do a straight ahead run on that
Then take the third thing and work straight ahead on that
Then the fourth thing, etc.
Then add the hair or tail or drapery or flapping bits at the end.
Advantages ! disadvantages
-— WQft-KlNG Thll-S WAY COM.SlN0* j —— NCDNF THAT I fKN'OW OF.,,
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•— /TS A DAAANCF ggrWE&M
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-—- in A BALANCE BftWff/7
63
Let's take our man going over to the blackboard again.
What do I do first?
Answer: The keys - the storytelling drawings or positions that have to be there to show what's
happening. Put it where you can see it.., so it reads.
What do we do next?
Answer: Any other drawings that have to be in the shot. Obviously, he has to take steps to get
over to the chalk - so we make the 'contact' positions on the steps where the feet are just
touching the ground.
There's no weight on them yet - the heef is just contacting the ground. As with the fingers just
contacting the chalk - they haven't closed on the chalk yet
if we act all this out, we might find he takes five steps to get to the chalk and bend down. I
notice that when I act it out, I automatically pull up my left pant leg as I bend down, then I put
my hand on my knee before my other hand contacts the chalk. I would make an extreme where
the hand just contacts the pant leg - before it pulls up the pants.
These will be our extremes. We're working rough, sketching things in lightly - although we
probably have made rather good drawings of the keys. (I haven't here, because I'm trying to
keep it simple, for clarity).
64
nr} Ft
£X7EOA\
&yVt&'Afr cXTf&frr
£x7f&A£
ccktx:
We could act it out, timing the steps and putting numbers on the extremes or we could leave
the numbering till later. I would probably put numbers on it now and test it on the video to see
how the timing feels as his steps get shorter - and make any adjustments.
What next?
We'll break it down, lightly sketching in our passing positions or 'breakdowns’. We won't get
fancy about it now - the fancy stuff comes later in the book. For now, we'll just make the head
and body raise up slightly on the passing positions of the steps - like it does on a normal walk.
/
Pa S5w6 H'smoa
Oft
E&AKPOWrt
65
We'd probably have numbers on the drawings by now, and when we test it, we've got three or
four positions for every second - so it's easy to see what our timing is. And to make any adjust¬
ments. And if the director wants to see how we're doing - it looks almost animated.
Now we'll make straight ahead runs on the different parts - using our extremes and breakdown
positions as a guide - and altering them, or parts of them, if we need to as we go along. Take
one thing at a time and animate it straight ahead.
SePAm^ on Heap
separate run oh feet
Maybe he’s mumbling to himself, or maybe he's talking - maybe his head just wobbles around
with self love. Whatever it is, we'll treat it as a separate straight-ahead run, working on top of
what we already have.
We’ll make another straight-ahead run on the arms and hands. Maybe they'll swing freely in a
figure eight or a pendulum movement; or maybe they hardly move before he reaches for the
chalk. Maybe he pulls up his pants as he moves along - or scratches or snaps his fingers nerv¬
ously, or cracks his knuckles. When we arrive at our key, we might rub out the arm and alter it
to suit our arm action. Or delay his head. Or raise it early to look at the board.
We can do lots of interesting things with the legs and feet, but for now we just want them to
function smoothly. (I'm avoiding the problem of weight at this stage because the up and down
on the head and body that we have at the moment will be adequate for now, and the figure
won't just float along.)
When he writes on the board, we'll treat that as a separate run. If he has long hair or a pony
tail, we'll do that as a separate straight-ahead run. His clothes could be a separate run, baggy
pant legs following along. If he'd grown a tail, that would be the last thing we'd put on.
66
I've shown these things in different colours to be as clear as possible. In my own work I some¬
times use different coloured pencils for the separate runs - then puli it all together in black at
the end. I was delighted to find that the great Bill Tytla often used colours for the separate bits,
then pulled them all together afterwards.
To recap:
Having made the keys, put in the extremes, then put in the breakdowns or passing positions.
Now that we've got our main thing - we go again, taking one thing at a time.
First, the most important thing.
Then, the secondary thing.
Then, the third thing.
Then, the fourth thing etc.
Then, add any flapping bits, drapery, hair, fat, breasts, tails etc.
The general principle is:
After you've got your first overall thing - go again. Do one thing at a time (testing as you go
along). Then pull it all together and polish it up. Make clear charts for the assistant to follow
up or do it all yourself.
It’s like this:
STORYBOARD
4 r
OfZs LAYOUTS
(fdUMBN. Alt- SKteTTHjs)
(K0y£)
67
Of course, you can work any way you want. There are no rules - only methods. You might feel
like ignoring all of this and just work straight ahead or work from pose-to-pose, or start one
way and switch to the other - why not?
What's to stop us re-inventing the wheel? Lots of people are busy doing it. But on the other
hand, why bother?
This method of going at it was developed through concentrated trial and error by geniuses and
it's a wonderful basis on which to operate. Having used just about every approach going -
including no system - I've found this is the best working method by far. Get it in your blood¬
stream and it frees you to express yourself. Use this technique to get past the technique!
Milt Kahl worked this way, Near the end of his life I told him, 'Now that I've been working the
same way, I really do think that - apart from your talent, brain and skill - fifty per cent of the
excellence in your work comes from your working method: the way you think about it, and the
way you go about it'
'Well ..he said thoughtfully, 'you're right. Hey, you've gotten smart!' Milt often told me that
by the time he'd plotted everything out this way, he'd pretty much animated the scene - even
including the lip sync. Then he'd finish putting numbers on the drawings, add bits and make
little clinical charts for the assistant - easing things in and out. He complained he never reaily
got to animate because when he'd finished plotting out all the important stuff - it was ani¬
mated. He'd already done it.
I rest my case.
prf pU nr^u 1 D — ™ i JIJ ri" 11 " 1 r5inHMWMHWr ■i-W-*- ■ i n ■■ H MmH WHI t i s—., |
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I always use the video to test my stuff at each stage - even the first scribbles - time them and
test them. In the 1970s and 80s, Art Babbitt used to get mad at me for it - 'Goddamit, you're
using that video as a crutch!' 'Yes,' I'd say, 'but is it not true that Disney first instituted pencil
tests and that's what changed and developed animation? And don't you always say that pencil
tests are our rehearsals?’
Assenting grunt.
'And what's the difference between rushing a test in to the cameraman at the end of the day
when he's trying to get home, and if he does stay to shoot it, hang around the next day till
the lab delivers the print and mid-morning interrupt the editor, who's busy cutting in the
main shots, and then finally see your test - when we can use today's video and get a test in
ten minutes?'
Art would turn away, 'I am not a Luddite.' (Machine wreckers protesting the Industrial
Revolution.)
68
Whenever Ken Harris had to animate a walk, he would sketch out a quick walk cycle test and
we'd shoot it, pop the negative in a bucket of developer, pull out the wet negative (black film
with white lines on it), make a loop and run it on the moviola.
'I've done hundreds of walks/ Ken would say, ‘all kinds of walks, but i still want to get a test
of my basic thing before I start to build on it.'
Bill Tytla said, 'If you do a piece of animation and run over it enough times, you must see what's
wrong with it/
i actually think the video and computer have saved animation!
Certainly the success of Who Framed Roger Rabbit contributed substantially to the renaissance
of animation, and having the video to test everything as we went along was crucial to us. We
had a lot of talented but inexperienced young people, and with a handful of lead animators we
were able to say, 'Take that drawing out, change that one, and put more drawings in here' etc.
This enabled us to keep improving everything as we raced along, so we were able to collec¬
tively hit the target.
Milt always said be would never bother to look at his tests. 'Hell, I know what it looks like - I
did it!' He would wait to see several of his shots cut together in a sequence but only to see 'how
it's getting over'.
But that was his way. i have never reached that stage and probably never will. I test everything
as I go along and it really helps. We're building these performances, so why not test our
foundations and structure and decorations as we proceed? And since it reveals our mistakes -
mistakes are very important since we do learn from our mistakes - we make our corrections and
improvements as we build.
Of course, at this stage i wouldn't have a problem routining my way through a job without
testing - but why?
The video or computer is there, so let's use it.
An interesting thing I've noticed is that when animators get older their perception of time slows
up. They move slower and animate things slower. The young guys zip stuff around. So, the
video is a useful corrective to us old bastards. And young ones when it's too fast.
69
Before we dive into walks and all the articulation stuff, there are some other important camera
techniques we should know about.
On the next page is a 'classic' exposure sheet called the X-sheet or dope sheet - the first sight
of which is guaranteed to put any beginner or artist off the whole business. When I was a kid
and first saw one of these I thought, 'Oh no, I don't want to be an animator anymore. I'll just
make the designs for other people to move around.'
Actually, it's awfully simple when you make friends with it.
It's just a simple and efficient form where animators write down the action and dialogue (or
music beats) for a scene or shot - plus the information for shooting.
Each horizontal line represents a frame of film.
£k _
ON £ r-WME
The columns 1 to 5 show five cel levels of animation we can use if we need them. (Usually you
need just one or two.)
ACTION
DIAL
5
4
3
2
1
B G
CAMERA
' % ■ ■■■ ■ ■ ■ H
„ . . .... ,,
70
SEOUENCE
The A&fiOhl column is for
us to plan out our timing- how
long we want things to take.
The D/'AL- column is for
the measurement of the
pre-recorded dialogue and
sometimes the breakdown
of music into beats etc.
This 'classic' X-sheet is
designed to hold 4 seconds of
action (1 second = 24 frames).
f ■
it has darker lines to show
the footage, which is 6 feet
of film (1 foot = 16 frames).
Many animators always
number the footage going
down the page.
I’ve also written in the
camera dial numbers - the
frame numbers in the camera
column.
Some animators time things
out by thinking in seconds.
Others think in feet = 2/3 of
a second.
Ken Harris thought in feet
and would tap the end of his
pencil every foot. I think in
both seconds and feet, but
seconds is easier for me.
Also, you can think in 1/2
seconds = 12 frames to a half
second. That's march time,
which is quite easy.
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(Computer animators please
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Well plan out the action using the action column.
Ken Harris always said, 'Come on, now, you can
have fun doing the drawings later, but do the
important part first - time it all out.'
So we'd use a metronome or a stopwatch and I'd
act it out several times, and we'd mark down on
the sheet where things would happen.
Let’s take our man walking over to pick up the
chalk:
We’ve got him taking five steps to reach the chalk.
When ! act it out, the first two steps are leisurely -
1 6 frames long {2/3 of a second).
Then during step 3 he sees the chalk, and this step
is slightly quicker - 14 frames.
His fourth step is quickest -12 frames,
On step 5 he slows up slightly -14 frames and
he’s already started bending down, which
takes over 2 feet till his hand contacts the chalk.
I've got him tucking up his pant leg above the
knee as he goes down - which takes 8 or 10
frames.
Of course, we can change all this as we work, but
this becomes our guide and the points to aim for
as we go along.
Now we can put the numbers of these drawings on
the page as I’ve done here.
incidentally, although numbers 1 and 96 are keys
and we've circled them, we don't circle the num¬
bers on the X-sheet.
72
The five available 'cel' levels on this X-sheet are there so we can treat each character or element
separately.
Why have different levels - why not draw everything on one level?
Answer: You can, but what do you do if you want to change the timing on one or two parts of
the action and leave the other bits as they are? However, it's a good idea to try to keep to just
one or two levels for simplicity.
If we wish to use all five levels, start with the main action on level 1. Say a man walks in from
one side of the screen and a cat walks in from the other. We animate our main action man on
level 1, and the cat on level 2, adding a 'C after the cat numbers: 1 -C, 2-C, 3-C etc,, so as not
to confuse it with the man drawing. The man drawings, or main action, don't need an iden¬
tifying letter.
If a woman passes in front of them, we'd put her on level 3, adding a J W' behind her numbers.
If a truck was to stop in front of them, we'd use level 4 for the truck and add a *T* to the
truck drawings.
If it's raining, we'd put the rain drawings on level 5, adding an 'R' after the numbers.
The X-sheet would look something like this:
' Trick WornN CAT MAN
ACTION
DIAL
5
4
3
1
2
1
BG
CAMERA INSTRUCTIONS
/ —/?
/ - T
/ — W
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This system obviously enables the cameraman to stack his levels correctly - working from the
bottom up - and take a frame of film with all the numbers across matching the dial number on
his camera.
But there is one very important thing here:
( ARB YOU A MEMBER OF K‘ h ?)
1 ■ mm. -. i „ . - -- ■ - , - - , - rr -
Keep It Simple, Stupid!
Use simple numerical sequences! Animation is complicated enough without making it any
worse.
73
My years in England taught me that the English just love complexity. A very brilliant friend,
who is a top Oxford mathematician, called me up and said, 'We're about to penetrate your prin¬
cipality.’ I said, 'You mean you're coming to visit?' 'indeed.' 'Wow,' i said. 'You just used nine
syllables to say what a North American would say in two! Vi-sit!'
We sure used to pen-e-trate-our-prin-ci-pal-it-y with our exposure sheets until Ken Harris
joined the team.
*
They looked something like this;
Y2H-4J "TX B
Y z 8~4a\ _
i y zg^eTn:%'S
\ yz %■ 4 c.‘y.2
*“• • • • -i x*.,m/. ..>_ jIl. x. •• • A \ .....1
' v X..' jC.s ss \
Can you imagine trying to make any changes or improvements when you're weighed down
with numbers like this? It would be like re-numbering the Encyclopaedia Britannica.
Not only were our numbers complicated, but our action went from two frames to three frames
then to four frames, bumping along then back to two frames etc., giving a jerky stop-start result
to the movements.
When we had just one level of action -- say it’s a tiger - everyone would cal! the drawings T1-
1 and T1-2 and T1-3 etc. One day I asked, 'Why are we doing this?' The answer from the head
of the department came, 'So we know it's a tiger,' 'But we can see it's a tiger! Why not number
it simply 1 and 2 and 3?' Answer: That will just confuse the painting department'
And it's not just the English who can overcomplicate! I once saw the working sheets of an
established American animator who’s written two books on the subject, and his numbers
looked like this;
QZAm T«f? PA WN,..
11 1 i ■ w ■ I n ii ■■ i I [I H i ■ I ■ i i ■ i i I
And then the first real live master animator arrived to work with us. On his first
day Ken Harris lightly pencilled in simple numbers going down the page on
'twos', that is, two exposures per drawing. That was the first time I ever saw
anyone go down the page on twos!
Ken usually planned his action on twos: twelve drawings per second, shooting
each drawing for two exposures, instead of working on 'ones', one exposure
for each drawing, which is twenty-four drawings per second - twice the amount
of work.
Ken was from Warner Bros - used to tight budgets: the animators had to
produce an average of 30 feet (20 seconds) a week or be fired.
Since most normal actions work well on twos, Warner animators tried to
avoid putting actions on ones.
When he needed to go onto ones for fast actions (runs
etc.), he’d just number it in on ones. i.e.
Then he'd go back on to twos
'Ok, Ken, but what do you do when
you've worked it out on twos, but
you find you want to add in ones to
smooth it out more?'
Answer: Add 'A' drawings.
Great, so now all this TXL-1 and PP-2
3/4 stuff goes out the window. We're
not weighed down with meaningless
technology. It becomes simpler to
work and easy to make changes and
improvements and we start getting
better.
33
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But there is an even better and simpler system!
i
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75
Milt Kahl called it his system, but I suspect that the good guys at
Disney all discovered it around the same time - it's so logical.
Just use the camera dial numbers for the drawings. Go down the
page on twos but use odd numbers.
Then if we do need to smooth something out or we need very fast
action, we just add in the ones.
Milt told me, 'Whenever S see my drawings with odd numbers
on them, I know I'm on twos and when 1 see even numbers, I know
I’m on ones.’
I asked, 'What do you do when you want to get into a hold - just
indicate you're holding that drawing with a line? And when you come
back in do you start again on the dial number?'
Answer: 'Yes. Come back in on the
nu
Not only does this make it easy for shooting, but it's
easier when you do need several levels of action.
We've now got the same dial numbers horizontally
across the frame of film.
6
4
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So, just go down the page with odd numbers - on twos -
and drop in ones when you need them.
It's simpler and frees you to concentrate on the work.
Boy, did my output and quality improve!
There are a couple of other things to mention before we start in
on the great argument of ones versus twos.
76
There's a very important thing I (earned from Ken Harris, i know it
sounds crazy - but if you have a series of 8 drawings - don't put
the B in front of the number, i.e.
| &
Put the B after the number, i.e. — i.—
3 _ _.
4:_,
S' I
<
We want to think as simpiy as we can. Ken said, 'Look, you don't call me Mister Ken. Put the
letter behind so ali you think of is the numbers.' Put any formality or whatever behind. It may
seem mad but it helps you do more work. Try it. All we're really doing is thinking of series of
numbers from 1 to 10. Anything to keep it simple. Nobody could figure out how this sick old
man could produce so much work - and of such high quality. He just kept everything as simple
as could be.
Two more things:
The only time you should circle a drawing on the X-sheet is when
a cycle of action re-starts - when we're repeating the same set of
drawings. We circle drawing (1) to alert the cameraman that it's
out of sequence with the normal dial numbers.
Then we circle the drawing in the correct dial number when we
come back to a normal sequence.
My rule is: The only time you ever put a letter
in front of a number is when you have an overlay cel
(of something in front of the characters).
Then you put 0-1 (for the overlay cel) or for a held cel
(somebody's stationary feet, for example) and call it H-1,
owmy
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77
Some people always complicate the numbering by calling ones and twos, 'singles’ and 'dou¬
bles'. In fact 'singles' is from a 1940s term for inbetweening when the animator did drawings
1 and 3 and 5, made an evenly-spaced chart and said to the assistant, Tve left you singles.’
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i.e. single in betweens
But when to use ones and when to use twos?
The rule of thumb is - use twos for normal actions and ones for very fast actions. For instance,
runs always have to be on ones - normal ’acting' on twos.
Walks can function nicely on twos, but they’re going to look better on ones.
Obviously, life is on ones (or whatever speed we film it on), but twos work well for most
actions and, of course, it's half as much work as doing it on ones. And half as expensive!
Working on ones is twice as much work and expense all the way down the production line.
Apparently, in the early 1930s as Disney's animators got better and better, costs were sky¬
rocketing, and since twos work for most things, they tried to stay on twos whenever they
could.
A lot of great animators even say that twos are really better than ones, that ones lead to a
mushy result, that broad, fast actions on twos ‘sparkle’ and adding ones diminishes that
vitality. Weil, yes, this is true if the ones are just dumb, mechanical Inbetweens,
My experience is different I’ve found that if you plan for ones, the result is usually superior to
twos.
I feel that twos are an economic answer to an artistic question. With twos being half the
work, everybody gets to go home on time, and why would I make a case for ones? Hell, I was
a studio owner.
When I was re-learning all this stuff, I would wait till my animation on ones was traced and
painted, then I'd shoot ft on ones as planned and then I'd take out every other cel and shoot the
rest on twos to see if it 'sparkled' and was better.
In ail but one case, ones worked better. The time the twos worked better was when I had an old
lady pulling out a doctor's stethoscope from her pocket. The ones produced a very smooth
movement
It worked just fine, but then I removed every other painted inbetween and shot it on twos. It
was better on twos! I cannot figure out why - it just was better.
So they're partly right, I guess. But I became addicted to using ones whenever I could - ones
seem to make for compulsive viewing and that's what we're after.
Art Babbitt used to nag at me for using ones. ‘That’s too realistic - one of the things about ani¬
mation is that it's not like life!’ But I would often add ones to Art's work when he wasn't look¬
ing and it came out better - and he liked it better.
Computer animators have everything on ones - with perfect inbetweens - and it hasn't dimin¬
ished the appeal of their work - rather the reverse. And twos tire the eye after a few minutes.
I feel that ones are twice as much work, but the result is three times as good. Compulsive view¬
ing, easy to watch.
i think my co-animator Neil Boyle said it best:
Twos work - ones fly.'
And ken Harris, who spent most of his life working on twos, would say to me when I'd be
putting ones into his stuff, ‘Oh, it's always better on ones.’
There’s one thing that always makes me crazy. When you have a character animated on twos
and the camera is panning with it on ones you get stroboscopic jitter. Either pan with it on twos
(not great) or add in single inbetweens so it doesn't strobe!
Some of the really good guys do this, it's a mystery to me. Why don't they add single
inbetweens so it doesn't strobe?
Maybe its because a lot of things don't show up on the pencil test. It's when it's coloured
in that we see the bumps.
It’s a combination of twos and ones. Not only but also.
Normal actions on twos - which is the bulk of our work anyway.
Fast or very smooth actions on ones.
Normal spacing on twos. Far apart spacing on ones.
79
An endless debate has gone on among classical animators about whether to register the draw¬
ings on top pegs or bottom pegs. At present, bottom pegs seem to have won out; most people
seem to be animating using the bottom pegs to hold their drawings.
Frank Thomas has said, 'Getting off the top pegs and working on bottom pegs has actually '
advanced the art of animation because you can roll the drawings as you work and see what's
happening - whether the creature is doing what you want.' And that's had a tremendous
influence. (Disney animators all work on bottom pegs.)
Alternatively, Ken Harris spent his life on top pegs and would flip his drawings and see what's
happening - whether the creature is doing what he wants. (Warner animators all worked top
pegs).
Ken would sometimes go red in the face and explode, 'You know who started that whole
bottom pegs business? A goddam lazy cameraman who didn't want to be bothered reaching
all the way under the glass pressure plate to place the cels at the topE He's the bum who
started bottom pegs!'
80
It comes down to something like this:
If you only have four fingers you can still ro! f
four sheets at once, plus the bottom drawing
- giving us five images.
out having to take the drawings off the pegs.
When Ken had calmed down, he used this example:
I WHS OFFE&NGr You A OGaNZs rfcOM A CIGAR, COX -
WOm^O y<?U A-iKB- PrZSi&iT IT-TO YOU
81
And what's going to make it easiest to draw?
Add to this the fact that most of the discs that animators use are made of heavy metal with inset
panning bars with screws to tighten and release them for sliding pans. It’s pretty awkward with *
all these points sticking up and we unconsciously have to dodge the pegs as we draw.
ouch. Garni ouch!
The engineer who made most of the equipment for my English studio arranged the panning
bars differently every time. I had to fire a guy once, and his close friend - who was very talent¬
ed - quit with him. To get even with me they ordered a special disc (on the firm) made with
three panning bars for different field sizes, top and bottom - six in all! By the time you added
in the screws it looked like this:
YtW vUCVG) YOU U&TO
DpAW CH THIS ? YOU COULD
upiA) r/fngfeiyE cars,
82
But how often do you really use the panning bars? Not too often, in my experience.
One day about fifteen years ago I found layout artist and designer, Roy Naisbitt, working on a
big piece of white plastic Perspex (Plexiglass) with a peg bar just taped on to it.
What a solution]
You tape the pegs on wherever you want, top or bottom.
Also, I keep a heavy metal disc with panning bars beside the desk for when I very occasionally
need it for a mechanical pan.
i . .
This also allows you to tape on taller pegs to carry more drawings if you're on top pegs. The
shorter peg bars are OK for bottom pegs, but the drawings keep falling all over the floor. Again,
an elastic band helps.
I'm delighted to see that Roy's solution has spread through the industry, as I've seen several
animators walking around in Hollywood with Perspex discs and a taped-on peg bar tucked
under their arms.
It works just fine. I animated the first close-up on Who Framed Roger Rabbit in a Welsh hotel
room with a Perspex disc on my knee - and top pegs!
I work both ways. Again, it's not only but also. Top pegs is great for drawing and bottom pegs
is great for rolling. Take your pick.
Obviously, computer animators are free from all this tactile nonsense - but I'm sure you have
equivalent stuff to cope with. Having started out as a drawing animator, Jim Richardson, now
a computer animator, told me that when he first switched over to the computer, he found it was
like 'animating with a microwave'.
33
MORE ON SPACING
Somebody once said an animator is something between an artist and a garage mechanic.
Here's more nuts and boits from the garage - but very interesting ones, and it really helps to
know them.
Ken Harris showed me this one:
Say we've got a telephone pole moving up quickly in perspective. Where do we put our middle
position?
T
You'd put it in about here, right?
84
Wrong. Even after fifteen years' experience I got it wrong. And nearly every professional I've
asked since has gotten it wrong.
Here's where the middle position is:
Rufe in the lines like this and the cross point tells us it's here. At least technically. And just keep
doing it:
This works well for fast moves. However, for more normal moves it's best to cheat ft - split the
difference - and come back about half way to where our first guess was. Do that throughout
and you'll get a better result
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35
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86
So when we're going to turn a head, it's going to be the same kind of thing:
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-ffie HEAD RBMAIN S StAT/C -
so we p/sPiA ce the
MIODLB POSITIOHTO MAKE
IT CONVINCING- —
POfLClAR-ifY j
Incidentally - on a head turn, Ken Harris showed me this:
Do it yourself or have somebody else hold up two fingers. Look first at one, relax, then turn the
head round to look at the other finger. During the head turn, something interesting will hap¬
pen. The person will blink. The eye, switching focus from one side to the other, will blink en
route. (Unless they're frightened - then the eyes will stay open.)
So W^LU PROBABLY
BLtHK -fk&Ttt&l'
87
CLASSIC tNg£TWB&i MISTAKES
A MA^ET HITS A NAIL
WHICH BENDS "
AND WE WANT OH£ IN BETWEEN
RIGHT IN THE M IWLg.
> 3
2 - '
OuR HELPER, WHO 1 $
PLUGGED INTO A CP,
Phone or whatever,
Poes precisely
WHArk requested ahp
pure IT RIGHT
IN THE MIOPLT,,,
* WELL, I FOLLOWED
you a qha&v ;/
later the same
plugged hn person
PUTS IN A DROP OF
WATER. BETWEEN
These two positions,
I 5
L._»j—J
2 .
AND PUTS IT
BIGHT IN TPE
M IDDLE -a
AGAIN
Omousvf
the change
ON Li TAKES
PLACE ON THE
CONTACT.
Gottd use
COfA/AON
SENSE .
IT GOES ON AND 0 N'-
QOFT RUBBER
BALL FALLING -
ofcouaee
SHOULD SE-.
4—
88
1 \mB, i P^rrrr
K16HT tf( iU.e.
P\K£ YO(J SAtP '
tjws f& ridiculous Bitrik,
^QUiVAPBMTOFT0N HAPPENS
WITH GdMPlCA iNBPTi/'fEENp-
tvery drawing is important. We can't just have brainless drawings joining things up. in one
sense there are no inbetweens - ali the drawings are on the screen for the same amount of time.
amp. oufL
TELEPHONE- POUT pTlHClPLC.,-
Suripur/T ,
piOfiT JN-fU^JAiO&t-a.,.
its not i-f Hes-
f3oT 7© THINK IN
of masses !
WPSN A GOLF CHIPS
fffrs A HAPO GOFF 8M-L"
AT Ike. MOMBHT
OF IMPACT WT MIGHT
.DIOT&HO The. <SHAP&
BUT IT WOULD
(TO SACK TO ITS
OWH SHAFT WiTHtti
V£gV FSW FPAMF S.
89
Ideally the inbetweener should understand and be able to complete eccentric actions.
NOT
JttZT A
STRAIGHT
AND NOT LIKE THIS
BUT TIKE THIS -
. — ■ ■ III I II MI ^ M II 1 ■ — ■ ■■ I j
WATCH V OUR, ARCS
Most actions follow arcs. Generally, an action is in an arc. Most of the time the path of action
is either in a wavelike arc or in a sort of figure 8:
But sometimes it is angular or straight. Straight lines give power.
N<P ARC
SNORT DISTANCE
GOES STPAKStfr
LONS PfSTAA/Ce
<$OE‘Z IN AN ARC
90
-ft&, AS£ or fk Acrtoti
GriW$ US'lte
COMriN HOU& MW
iU THIS Am SW/N&-
%c wfcfsr is L&Am&
TWUee Wine
fTW f>£AGS.
Aw/> OF w&£ ih, BOtfm
vom't €HRmr W <3?^ow-
th^y manvtaw TFeie
ofn&tm
^ewofOY
WRONG?
oeviatay
R-tSHT
7 •
Thf ARC IS 60 /MPORfA/Vfi £AY KVF HAVE FVmOMS ( f S t 5 J7-
9
5
/
a
\
• 3
£>0 W JOIN THFM UP UKJ£ THIS?
OR 'TH/S?
Wg-'ir S£T aw utterly pimzMwr wwtr- so ive ro/t or pup Ht- drawwgs
To MAK£ &UR£ WHATibt- ARC OF “Tie ACTiOiY OR f>A7H OF ACTION SH0UU> SB
l
<2FT£N
/ 9 -x
G .
Wg-OFT THIS"
° V
/
\
USOALtV
7®
\
\
# 3
W£ <3£rTF/C-
\
/
N&THm om wm nor. thb otubr
-
91
IF IT tSKT W Hit- ARC ot> PAV-f OF ACT(Oh -Ike, ANIMATION WILT HOF FLOW.
<BoF i& (Bo- WITH -Fit FlOW, USING ABCS (^UMLF SS A STRAIGHT (S
The stuff on these pages looks awfully simple set out like this - 'Oh, I knew that.' But as soon
as we get into sophisticated images and actions this all tends to go out the window.
I recently heard about a Hollywood assistant, a talented draftsman who was working on real¬
istic horses (about the hardest thing there is to animate). He drew the stuff beautifully, but he
just couldn't get the hang of keeping things in the right arcs. His directing animator, James
Baxter, finally suggested he take a blue pencil and just trace the horse's eye positions sepa¬
rately and look what was happening to the flow. Clink! The penny dropped.
O & . &
AFTfIF
So we're back to the old bouncing ball again.
These basic things are so important. Most animators would say scornfully - 'Oh sure, the
bouncing ball - everyone knows that' But do they?
FAm A U&Wl SILUAP&
BALL - IT WILL
UPA^ IF PROPS - WONT IT?
I M PAN f YOU COULPN'r
HAVF A HmVYBlLUARO
ball §L owm up as
/r FALLS f COULt> YOU?
AGAIN\ l-TS all (H gj BPAOm!
Bur rw s t$ exactly
WHATk (NA PmsNNlA iXf
FU&U&H&P INSTRUCTION
BOOK FOF AtiitMie&S.
<S FTTiNO MOF£ M O VFM FNT WI Tf{ (N Fke> MASS
Now we can start getting more sophisticated. We're going to keep finding ways to get move¬
ment within movement, action within action - getting more 'change', more bang for the buck.
92
I
Ken Harris showed me how to exaggerate a hit.
Say a creature shoots through the air to hit a cliff:
CUfir
We'd need about five drawings - even spacing on the head - to get him over to the cliff.
The figures overlap slightly to help carry the eye - on ones, of course, because it's a
fast action. No inbetween between 5 and 6.
.
SplX
To get more impact, more power to the hit, add in another drawing where he just touches
the cliff, just contacting it before he's flattened on the following frame. This will give more
'change' - action within action.
Now our action kind of leaps a one frame gap. We won't see it, but we'll feel it and it will
give a much stronger impact to the hit.
There's an interesting thing here which takes us right back again to the bouncing ball.
In 1970 I showed Ken an early edition of Preston Blair's animation book when I was question¬
ing whether we need that amount of squashing and stretching of things. (You can gather by
now that I'm not too keen on 'rubber duck' stretching around - although twenty-five years later
that was what was required on Who Framed Roger Rabbit, a cartoon of a cartoon.) I noticed
that Ken, though famous as a broad action animator, used squash and stretch rather sparingly.
93
1 had the page open on the bouncing ball. It was like this - which certainly works OK.
Ken said, 'Yeah, sure, but wait a minute - never mind that. We can make this much better. We
need to have a contact in here before the squash/
'Put in a contact where the ball just touches the ground and then it squashes. That'll give it
more life.' (Move the preceding drawing back a bit to accommodate it.)
‘And do we do the same when it takes off again?' Answer: 'Not in this case - just when it
contacts. You get the "change", then it's off again.'
The animation grapevine flows like lightning: 'Did you know Ken Harris in London has correct¬
ed Preston Blair's bouncing ball?' Preston's next edition came out like this:
Perfect.
94
This is not done to show disrespect for a skilled animator like Preston, who was the first
classical animator to make real animation knowledge accessible, or to put him down in any
way. Ken was just showing an important device to get more action within the movement.
Ken continued, showing the same idea with a frog.
'Have him contact the ground before he squashes down. Then keep his feet contacting the
ground as he takes off. That'll give more change to the action.'
Next, a jumping figure.
‘Have at least one foot contacting the ground before the squash down, then leave at least one
leg still contacting the ground as he takes off again.'
This is great because we're getting more 'change' - more contrast - straight lines playing
against curves. We're doing it with bones as well as round masses. We can use straight lines
and still get a limber result. More on this later. We don't have to be stuck with rubbery shapes
to get smooth movement. This will also free us from having to draw in a prescribed cartoony
style because it 'suits animation' and is 'animatable'.
I'm using crude drawings here because I want everything to be crystal clear. I just want to show
the structure and not get lost in an overlay of attractive detail.
95
( ihe >ttBETWEEN )
[n the 1930s, when animators started studying live action film frame by frame, they were star¬
tled by the amount of transparent blurs in the live images. In order to make their movements
more convincing, they started using stretched inbetweens. Ken used to call them 'long-headed
Inbetweens'.
For a zip turn - on ones - although it also works for two frames:
pisrm^m
-'in tiAN£> OY A -wsr
MOVBfAENT
We CAfV
AN OY&ZLAP.
f
l
i
Let's take these drawings of pounding a door. Shoot the inbetween (2) on
ones. This is one of the very few cases where you can shoot the sequence in
reverse. It will work on ones - or with just the inbetween on ones and the
extremes - (1) and (3), on twos.
eithbz o& :
/
z
3
2 -
!
96
!n the late 1930s when tracing and painting the drawings on to cels was all done by hand, many
painters became very adept at 'dry brushing' the desired transparent live action blur effect,
Animators indicated the blur on their pencil drawings and the 'dry brushers’ would cleverly
blend the colours together to simulate the transparency in the blur.
After the 1941 animators’ strike and World War II, budgets shrank and so did the use of skilled
backup painters. But a lot of animators just kept on indicating blurs and it became a cartoon
convention to just trace this in heavy black lines - ignoring the fact that the dry brush artists
were long gone.
Now it's become a cartoon cliche. A cartoon of a cartoon:
With characters just vanishing from the screen, Ken told me:
'We’d have this witch up in the air laughing and then she's gone. Instead of making a blur we
just used to leave hairpins where she was.’
‘We learned that from the Disney guys in a fish picture. They’d have these little fish swim¬
ming around and something would scare them and they were gone - that’s all - with just a
few bubbles for the path they took.’
a
v _■ _■ &■
P -j ^ &
® Q » » o Os 4 & a s - *
* C =»
6
o J
2 * j ^ c t ■■ ) O** ,3 j I-, C 5 i' v
> ' ,
«
c ft o -
■' -1
97
In the early days, speed lines were a hangover from old newspaper strips:
Then they were used in animation to help carry your eye. But they're still around now when we
don't really need them. You don’t even need to show the arrow entering. We have nothing and
then it’s just there - maybe with the tail vibrating.
IV Q T H I N Or
j (ST SHOW
The. pgStU-r ,
W& POHT MazD ' SPARKS"
ip -rte a nimatioM
HAS PGW&R WCMT
UTrte BLACK Pm$ ABDvNB
IT To Gvyg tr .
However, I find the elongated or 'long-headed' inbetween is very useful - not just for a zippy
cartoon effect, but also for use in realistic fast actions:
98
Again, we're returning to the original purpose - emulating the transparency of broad, live
action blur movements. It’s especially suitable with 'soft edge' loose drawings - where the out¬
lines aren't sharp and enclosed like colouring book drawings.
Doing too much action in too short a space of time, i.e. too great arm and leg swings in a run. The
remedy: go twice as slow. Add in drawings to slow it down - take out drawings to speed it up.
Ken Harris told me that when Ben Washam was starting out at Warner's, he became famous in
the industry for 'Benny's Twelve Frame Yawn'. Ben drew well and made twelve elaborate draw¬
ings of someone going through the broad positions of a yawn - an action something like this:
Then he shot it on ones. Zip! It flashed through in half a second!
So then he shot it on twos. ZZZip! It went through in one second!
So then he inbetweened it (twenty-four drawings now) and shot it on twos. ZZZZZZ! It went
through in two seconds - almost right.
Then Ken showed him how to add some cushioning drawings at the beginning and end - and
bingo, Ben's on his way to being a fine animator.
Some animators want to save themselves a lot of the work so they draw very rough. ('Ruff' -
they don't even want to spend the time spelling 'rough'. Too many letters in it to waste our
valuable time ...) And they leave lots and lots of work for the assistants.
|*ve never understood why some people in animation are so desperate to save work, if you want
to save work, what on earth are you doing in animation? It's nothing but work!
99
In the early days at The Disney Studio, when animation was being transformed from its crude
beginnings into a sophisticated art form, they used to say, take at least a day to think about
what you're going to do - then do it.
One old animator, writing about the subject forty years later, advises that we should spend days
thinking about it He's read up on Freud and Jung and the unconscious mind and he writes
seductively about how you should ruminate until the last minute and then explode into a
frenzy of flowing creativity.
He told me that in a week's work he'd spend Monday, Tuesday, Wednesday and Thursday
thinking about it and planning it in his mind. Then on Friday he'd do it. The only problem is that
it then takes three weeks for somebody else to make sense of it.
I knew this guy pretty well - and he made it sound so creatively attractive that, though I
felt it was artistic b.s„ I thought I better try it out I managed to ruminate, stewing and mari¬
nating my juices for about a day and a half and then couldn't stand it any more. I exploded into
creative frenzy for a day, drawing into the night like a maniac. The result was pretty interesting,
but it really did take three weeks to straighten it all out afterwards. And I don’t think it was any
better than if I had worked normally - maybe just a bit different.
I think Milt Kahi has the correct approach: 'I do it a lot. I think about it a lot, and I do it a lot.'
Ken Harris worked intensely from 7,30 am till noon, relaxed at lunch, hung around doing bits
for a while, went home to watch TV (or play tennis when he was younger) and thought about
what he was going to do the next day - then came in early, avoided social contact and did It.
He worked carefully and thought very hard about his stuff. He said he was surprised when
he saw some of Ward Kimball’s working drawings because they were exactly the same as his -
very neat - very carefully done - usually something on every drawing in the shot. -
When I first saw Milt's work on his desk I was startled by how much work he did. His drawings
were finished, really. There was no ‘clean up' - just ‘touch up', and completing details and
simple inbetweens or parts of them. Ditto Frank Thomas, ditto Ollie Johnston, ditto Art
Babbitt. The two exceptions to this were Cliff Nordberg, a marvellous 'action' animator who
worked with me for a while, and Grim Natwick. Cliff did work very roughly - so he was awful¬
ly dependent on having a good assistant and it always caused him a lot of concern. And Grim
was a law unto himself.
There's an animation myth about the assistant always being able to draw better than the ani¬
mator. (I never met one who did.) The myth is that the animator creates the 'acting' and the fine
draftsperson improves the look of everything and nails it all down. Well, there aren't that many
fine draftspeople around and if they're good enough to nail all the details down and draw well,
they really should be animating - and probably are. (An exception to this is the assistant 'styl¬
ist' on commercials where the 'look' of the thing is it's raison d'etre. There are a few excellent
ones around.)
Rough drawings have lots of seductive vitality, blurs, pressure of line, etc. But when they're
polished and tidied up you usually find there wasn't that much there to begin with.
100
As we go along through this book itlt be apparent how much work we have to do to get a really
interesting result. No matter how talented - the best guys are always the ones that work the
hardest. But hang the work, it's the unique result that we're after. Every time we do a scene,
we're doing something unique - something nobody else has ever done. It's a proper craft.
how much pc m leave ro assistant? J
W "... . .... . . ■■ . - .... . . . > i m .M . .
Milt Kahl's answer: *1 do enough to have iron clad control over the scene.'
Ken Harris's answer: 'I draw anything which is not a simple inbetween.’
Milt again: 'I don't leave assistants very much. How much can I get away with leaving and still
control the scene? If it's fast action, I do every drawing.'
The purpose of the assistant is to free the animator to get through more work by handling the
less important bits - but as we have seen, he/she can't be just a brainless drawing machine.
The computer produces perfect inbetweens, but obviously has to be programmed to put in the
eccentric bits that give it the life.
Here's my tip on saving work - my rule of thumb:
-—
( TAKE Tfe LONG SHOOT CUT,
^Hl III*.■■■■ ^1 I I ■! I- ..
The long way turns out to be shorter.
Because: something usually goes wrong with some clever rabbit's idea for a short cut and
it turns out to take even longer trying to fix everything when it goes wrong.
f've found it’s quicker to just do the work, and certainly more enjoyable because we're on solid
ground and not depending on some smart guy's probably half-baked scheme.
And again, if you don't want to do lots of work, what are you doing in animation?
One of the things I love about animation is that you have to be specific, if a drawing is out of
place it's just wrong - clearly wrong - as opposed to 'Art' or 'Fine Art' where everything these
days is amorphous and subjective.
For us, it's obvious whether our animation works or not, whether things have weight, or just
jerk about or float around wobbling amorphously.
We can't hide in ail that ‘unconscious mind’ stuff. Of course, we can dress up and acf like
temperamental prlma donnas - but we can't kid anybody with the work. It's obvious whether
it’s good or bad.
And there’s nothing more satisfying than getting it right!
101
WALKS
Advice from Ken Harris:
'A walk is the first thing to learn. Learn walks of all kinds, 'cause walks are about the toughest
thing to do right.'
A TpNDEhlCY
T& DEA/V A WALK*
TUF £LOW£R IT l$ y
7 VO(i2B fN
0AMA/C£ -
AND FASTER -
MCFF air OF
BAL-AA/C-S ■
Walking is a process of falling over and catching yourself just in time. We try to keep from
falling over as we move forward. If we don't put our foot down, we'll fall flat on our face. We're
going through a series of controlled falls.
We lean forward with our upper bodies and throw out a leg just in time to catch ourselves. Step,
catch. Step, catch. Step catch.
102
Normally we lift our feet off the ground just the bare minimum. That's why It's so easy for us
to stub our toes and get tipped over. Just a small crack in the pavement can tip us over.
t tinier
w
sach asm In
tffcOlNAHOK WITH Hie
opposite Lj§
g/U-ANCg a^lHfcU^r
AS WE DIP WWW
wfe s?m& up-
pgusAsiNS mf$&
sSfcAVfTV JS P6IN4
$cm OF ISe ACfiK-
OUtt AfcAti Afcsfir
yV/DST FbJffP
©
WBpeuS&TKAN
Om CPMTl /WAY
FteM staesiMSc*fe x<&
f4&i YfiM£WB1&K£
AfeP- WAM*ftl$
natueau-V &(HgPSy
CCNCmViNS.
We Mpr CUR FOOT
AS Mm# AS fOS&PiB.
Afwe JEtSJ^MP
We ii-ow tcwtf,
yfls'^SteRII&uP
mmx
cmtACT
■,mt
I
cx(R fbOi
GUPsS POWN
neei flizsr
ft# A SOFT
HANDING
POSNr NEtP you MUCH WHEN VOU&/ttftB> TO ANIMAL TH£ WAlK
OP A BUT HAPPY MAM - OK POPS if?
OdflOHMB S
peoptx?
NwSSptPWP? •
gWPY 7WE WE
THRUST
<5tW* CAtFiWJSqUs
psrs our up to
OfiB !-fo,eseiTv(5?
( 76 o wans).
pSEi-ESSf?) m iHimsntiG $cmx\fit inro^mmu oh waoks
PlP you KNOW WE PUT A MltWOH ftuN&S. OF WMEttT ON OOK FEET £ACM PAY?
MECWANT
GbiNG*
DOWN
GoiNg
up
MEDIANT
C5o/NG
Down
AdA(N
SuTj AU* WALKS A££ DIFFERENT
NO "TWO People IN 7WP WOeiP WALK T?j£ SAM£>
ACTORS TRY TO GET FOOD OF A OtAfMOTER
By figuring cur how hb/sh^/it wa lks -
TW id TOU- tfp whole s^cp/ with rm VWC
103
Why is it that we recognize our Uncle Charlie even though we haven't seen him for ten years -
walking - back view - out of focus - far away? Because everyone's walk is as individual and
distinctive as their face. And one tiny detail will alter everything. There is a massive amount of
information in a walk and we read it instantly.
Art Babbitt taught us to look at someone walking in the street from the back view. Follow them
along and ask yourself:
- A & THEY OLO?
- y om&?
- l/WAT-t 7H6J& FINANCIAL POSITION ?
- State of health ?
- AIZP TH6V 'STRICT?
- p£RMt$SiV£?
~ HOPEFUL?
- Sad?
- 14 APPY ?
—■ PPUNfP T
Then run around to see the front and check.
So what do we look for?
The big eye-opener for me happened like this. (Unfortunately it's a little politically incorrect,
but it's a great example, so here goes.)
I was in my parked
pheral vision I semi-
consciously noticed a man's head walking behind a wall.
i
104
It passed through my mind that he was gay. A gay walk. Now I'm quite short-sighted - my eyes
were focused on the ignition key, and it was a busy street with lots of cars and people - and he
was about fifty yards away! Wow! How did I know that? This is crazy. All I'd seen was his out-
of-focus head moving along behind a wall for a split second!
I started to drive away, then stopped. Wait a minute - I'm supposed to be good at this. I'm sup¬
posed to know these things. I have to know why\ I remembered Art's advice, re-parked, jumped
out and ran a block and a half to catch up with the fellow, I walked along behind him, copying
him. Sure enough, it was an effeminate walk. Then I got it. He was walking as if on a tightrope
and gliding along.
Now how could I have registered this with out-of-focus peripheral vision at fifty yards without
even seeing his body? Simple, really. There was no up and down action on the head. Try walk¬
ing on an imaginary tightrope and your head stays level. No ups and downs.
i p> sgew 7 ws -
G LI Mt/Gr
W£l£MTLaS£/-y
fiNO IN A.
COMVEttVOHAL-
STEP ^ SOW
R.IS.E S UPONdhe.
PAss.'Nfi vc&tnoti-
From then on the first thing I always look for is how much up and down action there is on the
head. The amount of up and down is the key!
wonm orm w take short steps. ih a straight une - legs cpse imm&z = ume up dom on ih BopY
As opposep to Misrm macho:
105
Women mostly walk with their legs close together, protecting the crotch, resulting in not much
up and down action on the head and body. Skirts also restrict their movement.
Mr Macho, however, because of his equipment, has his legs well apart so there's lots of up and
down head and body action on each stride.
'Tgf'JDS
-JZ?
aJ Heee
COMei ibe,
g xpRgm
TfcA IN -
(£ur)
VitCm TURN A Vi
MASCULINE WALK INTO
AN PFF&NVNATS ONE
ju sr gy ova£.
itte T%ETACHGN.
GETTING THE WEIGHT
VY£ pONt GET WEIGHT A ^AOOTH WWNT
When we trace off a live action walk (the fancy word is rotoscoping), it doesn't work very well.
Obviously, it works in the live action - but when you trace it accurately, it floats. Nobody real¬
ly knows why. So we increase the ups and the downs - accentuate or exaggerate the ups and
downs - and it works.
rrs t m up and mum posrra & yajfc-AWSSES w &ves> y 'ax the idling op weight.
WEIGHT"
witEN m m>
patti
wm its*
m a
"WHi^e web
Nowmn*
ON |T
vpt.
TV^i
mo
we Set
caiw&c
ifi'diF PC¥M pDfiiTIDN WH^ THE U£iSP AGE Sf-NT ANP 'THE SOY MASS IS PGWf/-
whepe we
106
Before we start building walks and 'inventing' walks - here's what happens in a so-called
normal' walk:
nf&r We'lP
MAKP r HE
2 CONTACT
PC&ITIONS -
Cohjacy Contact
In a a (Ofttoi.,
Conventional-
WALK.
VWf? arms At ^
ALWAYS
OPPOSITE
To THE t.£dS
7D <5/V£
balance
AN 0 Tf{RU§T.
pASSflte- FDsmc*f
A/£*T W£tb
PWT* TV the
PASSING, POStT(CN~
- THE Ml DPLE
POSffiON-
BP-EAKPom'
-THE
HALT-WAY
PHASE
f SH&rtLf HIGHER' \
vW/W M'D-RPWr /
&K.*Ak$E THE LUG
IS STRAIGHT UP OH
WE PASSING PCS WON,
ITS GOING To LIFT
THE PfrMi S,
body ;W head
slightly
HIGHER.
\
N&.T Ob/ues we
7>0WN POSITION "
WHEPeTHE
Bent pm
TAKES THE
weight
Anl> Just to Complicate
i-lFE * W A NORMAL WALK
THE A PM SWING IS AT
iri W l PEST
ON The DOWN POSITION
AN!) NOT ON Tfk CONlfCr
Positional web Prefer -
Wfe CAN IGNORE THIS
AC WE PROCeeO .but we
MIGHT AS WELL UNDE&Smb
THE NORM &EFCfT NT
START MESSING ARGON b.
107
Next m Pur in
THE UP POSlTfOH -
-The' 'CPE
Tht- tCOT PUSH iUG OFF
HFTS oh* pELV/S,
BCPf a*vc) HEAD UP
To ITS HIGHEST FOOl TiCN
-Then i tit i&6 i%THRom
our to Catch us O/v
Tkt CONTACT PCQlTOH
- So WE UCHT FALL
OH OU{Z FACE.
LETS SPREAD
/r Our ANp
FXAGGePaTF it
A LiTTL£ MCPT
SO ifs
ClSAReFL,,,
CCHT.KC
X
IN A NOKjVAU ' (ZFAUSriO WALK _
~xk & weigh re ces (pqwn)
7 ^ tit WEIGHTooe^rup)
Juir after Tui stp -
JUWAFJFTTf CCHTAC-T
JUSTAFtbETU PASSiHG PemCN.
Contact
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l&r $mi>$
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cp Tii* MCftP
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(& 01 H&- up)
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M EPiANf—
108
r
v
$&T THE TEMPO )
'the Fimr mm rc> to in a walk t seta beat
(RfNERAUT RAO PIT WALK OH I 2 J g - MARCH TIME
% 14 T PAX)' animators botfrUKE To Vo iron ITS.
ITS HARP TO Pi VIDE up , YOU HAVE To USE ' THfRPS-
HALfa Second phk stbr \
two RTFS Pep second .
THlHK RARTP/ IN THR^.
n / 4 21/0/5
THe f M EFTVSFiiO AFF GoifB To BE OH 7WRW\
OoPS'-rtoW H/HPR)= JD W£ PUT “fftsifcWW OR djP:' /
tfisy, Trffft &HH7N# HAS-D -^rectwx
wHm we 6&r into the Am$ anp imhap,. Md
'Aon 145' AND PFAPFFN —fMVBE- 7H&RI& AN
FAS)EfZ AT - 7
2E
s /i/M HAS miP WAV - HAVE Him/HPR, WALK ON i&S
MUCH EASIER. IO WALK ON lR Y — /TS HA6V 72? P iV / UP
4 fat step - %
— OH WAAK OU g'S ,
-SAMETHINQ ON S ! S.
r 3 steps per sec.
V/tf&W, THAT MAKES LIFE pA^ES-
MICE EVEN PlVOiGNA Nc*N -
{ E^PUcep UP AN p POVV/M ACT/OOf'S/A1CE\
( iT5 1A£iNG RvACfc ifsj /\ sHopJ^P-- T/M p /
.si*
THK K WW/ W7E0IV WAUKS Afe CRHA/ PN £c
(5UMP, Bk'Uf, Bil/HP, S TFT A SPCCAP.
109
y-
SO, WES&TABgkT'
KL
&
f%AM£S -~
8
FRAME- S =
FIFA ms ~
iG
FRANKS -
-JO
flames ~
lA
FSAMi sS —
S n
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FRAMES ~
b SSfzpQ a sbcoh b
A ve/ey fast fun { & a -s blund j
A nun oe veey fW walk (f-4 stm a s^coai d)
Stotv ItUH OH x CAi>TCCH' WALK (3 St£PS A SFGONjS)
BFiOK f BUSiNF&O-LlKF l WALK— 'NATURAL- WALK fw SjfPS A Sf=QoHb)
KrLOWING WALK - WORK LFiSUReP/ ( % CFA SECOND iWR
Etp^y oe TfeD Person ( auwst a -QzcoNb pffstfp)
Slow ovlp ( ole lf-ff per., gfconlj
,,:<$HOW A\E 'tie. W/W,,,,TO GO HOME
The best way to time a walk {or anything else) is to act it out and time yourself with a stop¬
watch, Also, acting it out with a metronome is a great help.
I naturally think in seconds - 'one Mississippi' or J one little monkey' or 'a thousand and one,
a thousand and two' etc.
Ken Harris thought in feet, probably because he was so footage
conscious - having to produce thirty feet of animation a week. He'd
tap his upside-down pencil exactly every two thirds of a second as
we'd act things out.
Milt Kahl told me that on his first week at Disney's he bought a
stopwatch and went downtown in the lunch break and timed people
walking - normal walks, people just going somewhere. He said they
were invariably on twelve exposures - right on the nose. March time.
As a result, he used to beat off twelve exposures as his reference point Anything he timed was
just so much more or so much less than that twelve exposures. He said he used to say ‘Well,
it's about 8s.' He said it made it easy for him - or easier anyway.
Chuck Jones said the Roadrunner films had a musical tempo built into them. He'd time the
whole film out, hitting things on a set beat so they had a musical, rhythmic integrity already
built in. Then the musician could hit the beat, ignore it or run the music against it.
Chuck told me that they used to have exposure sheets with a coloured line printed right across
the page for every sixteen frames and another one marking every twelve frames. He called them
‘16 sheets' or '12 sheets' 1 guess '8 sheets' would be the normal sheets.
I mentioned once to Art Babbitt that i liked the timing on the Tom and Jerrys. ‘Oh yeah,' he said
dismissively, 'All on 8s,'
That kind of tightly synchronized musical timing is rare today. They call it 'Mickey Mousing’
where you accent everything - it's a derogatory term nowadays and considered corny. But it can
be extremely effective.
110
In trying out walks, it's best to keep the figure simple. It’s quick to do and easy to fix - easy to
make changes.
also, in doing these waits - take a few ftps Acwm TUe, pat ok sotfn
^DOH'Tj TFT TO WORK OUT A CYCLE WALKING Iti PLACE WITH lUe Fmi SLUING BACK, pic,
THAT ALL BECOMES Too TlCHH iCAL^WF WATT OUT SPAIN FRfF TO CONCENTRATE
OH AN INTERESTING WALK -PLCGLoSSiNCr FORWARD.
y vte can work out a cycle tot The walk latfiz „, Perhaps just foe TGl Fper
BODY. Bur THEN HAVTTtiC AUMs zttAiUe HEAP PERFORMING TFPAPMBLJ.
CYCLES ARE MECHANICAL mH LOCK JUST LIKE WHAT THEY AiT ~ CYCLES -
CHUCK JOHfC TELLS CF tHS TINY S’ Y0TL cU> ORANLPAUGHtFF SAYING, /f
% CAN DAP WHY DOES The SAME 1 WAVE KEEP LAPP (HO CON J\t (SLANP 9
/
Incidentally, if you are using colours as I am here, it works just fine when you film them. I often
have a lot of colours going at first, and you still see the action clearly.
Now we're going to start taking things out of the normal:
-Thpffs a very simple way To build 4 walk- Start wnv just 3 DRAwm-
FlRRT
WF MAKE QUO
'TWO
CONTACT
lot no/vs -
111
pasq pod.
Turn Put in
'Hie MIPDLb pC&mOH -
Ike PACING POSITION -
eg
PPE-AKOCVIN
-THIS, T/M£
WP'PF RAISINS tr
Hi&tim. THAN
PREVIOUS!, y.
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Tf/g up Pc^mcN -
-imfu&t.
f
i 'NeSfz omrm> \
I Tke SpHT M5G ;
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1 amp cag contacts
\ WIU^ACrAS /
\ i-OtV
When we join these up with connecting drawings, the walk will still have a feeling of weight
because of the up and down. We can make tremendous use of this simple three drawing device.
£U7 LOCK WpAT HAPPENS iF W£ 60 PSW/V CM W PASSJMS FDS/
WP 6ETA VEpy
DIFFERENT WALK -
/T CARTOON/' A'ATK
P4SS
A0IV the pASmQ
Position is the
IX) \N ANO TUB
Contacts, act
AS THE i-f/SH -
QTII-P CilViNQA
FE0UNG OF
We ifitf'T
'HP CPUCW-. TplNO /S TH/S A'I/DPee POStVCN AND WHERE WP P/f IT
Pass F.A
pcs.
squash
V 7 HA SENDf
-m a kidney?
MOW
ABOUT
THIS
ONE?
FAtO
ft>S.
112
Tfffgg CONTACTS APP ALLTHE &UT THEMIPPLE POSITION UTr&m CHANGE WE WALK
WHAT /F THE FEET SWING OUT SIDEWAYS OH THE PATTING POSITIONS?
ANP
mim
STRAKShTPV
~TUxz fSOpy
ON Te. PASS
Positions?
Ol*~ JUST TILT THE Li LAO AMO SHOULD&& -S/PPWAYS QV THE PASS F&SmcNS -
THE KW thing
(S IVf/jE^F /X.' wp
WANn& Par the
/Vi IPi>^
Position ~
/VPf 7 £> MavTiO/V
HW '/VP 6w pc
W/W T/-/e tfjEAD,
WA/VPS, ARMS Q£
FEET-
THE VARIATIONS ART FMOTSO -
113
AMD WHY SWttlb WE BE STUCK W tTH THE E'AM£ SHAPE?
UQW ABOUT
IMSIEAO OF fcA&fe
The W HOU? &CT>Y
OH 7b. Pa9> ros -
Stretch it
G(Np>
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LETS SAY
ITt A UFA VJ06
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Peiwis
e&vst
TriKo ( oxr.
To my knowledge, I think Art Babbitt may have been the first one to depart from the normal
walk or the cliche cartoon walks. Certainly he was a great exponent of the 'invented' walk. He
became famous for the eccentric walks he gave Goofy - which made Goofy into a star. He even
put the feet on backwards! He made it look perfectly acceptable and people didn't realize they
were backwards!
ft
Art's whole credo was: ‘Invent! Every rule in animation is there to be broken - if you have the
inventiveness and curiosity to look beyond what exists.' In other words, 'Learn the rules and
then learn how to break them.'
This opened up a whole Pandora's box of invention.
Art always said, 'The animation medium is very unusual. We can accomplish actions no human
could possibly do. And make it look convincing!'
This eccentric passing position idea Is a terrifically useful device. We can put it anywhere and
where we put it has a huge effect on the action. And who says we can’t put it anywhere we
want? There's nothing to stop us.
114
For that matter, we can keep on breaking things down into weird places - provided we allow
enough screen time to accommodate the movement.
thi s- om
Foe
mSTANCp
PtSiftA
Wp CAN
GO POWH
To TAK£
7 w wm&n
AND
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oh tub
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po Move
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IN SmtlFFN
But PFi-AY
TH0 UFO
(f&0&AWiC£)
merm
pas:
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DOWIt
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Anyway, back to the normal:
% WAYS7D PU\N A WALK
P&/1&WIHG
Hit CONTACT'
MSTblOO :
FiPST YV£
YiAKf tap
contact
PD$i 77 c/VP
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Ibt PAGING
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c
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PUT IN THP
POW MP
1H0 HIGH
POSITIONS
ConTPC-T
115
I've found that this contact method is the one that gets you through - takes you home, It's espe¬
cially suitable for natural actions - which is what we mostly have to do. I've found it to be the
best way to do most things.
Milt Kahl worked this way. 'In a walk, or anything, I make the contact positions first - where
the feet contact the ground with no weight on them yet. it's kind of a middle position for the
head and body parts - neither an up or down. I know where the highs and lows are and then I
break it down. Another reason I do it is because it makes a scene easy to plan.'
'I always start off with that contact because it’s a dynamic, moving thing. And it's much better
than starting with the weight already on the foot, which would be a very static pose!'*
*
as exactly what the second system pops.;
'This is the wav art babbitt often ftanhw a walk- anp it has
a vbny cumm thing to it-
^7
/ -
Start off
WITH THE
pom ftsmoNS
\
for. waNtofa \
BETTER TfS.m \
VYE 'U- CAU- IT
rk Porn fcsmctf J
METHOD.
NOW PUT l
I'ke, Passing
PCTiiTcH -
- FOFNOW,
ZlGHTiN THE
M ipOuF
DOWN
UP
pom ^ vown
O
Now weve GOt
Both the up
AMD THE vomt
COVERFO
IN JUST 3 PRAWtHtSS
ttr contact
AND ONE OF OUR
Nbkt aaid -positions wilt
m the contact.
I although its \
Kind of awkward
"to NetGcct>
CONTACT FG31TIONS .
THI S WAY -
i
116
The cleverness of this approach is that we've already taken care of the up and down in the first
three drawings. Of course, we can put the passing position up, down or sideways - anywhere
we want. But having the downs already set helps us invent; it gives us a simple grid on which
to get complicated, if we want.
We know it'll already have weight and so we're free to mess around and invent eccentric
actions, or actions that couldn't happen in the real world.
Again, we're not stuck with one method or the other. Why not have both? Not only but also ...
I highly recommend the contact approach for general use, but starting with the down position
is very useful for unconventional invention.
From now on we'll use both approaches.
!rs k/mp of academic, Bur if we take both methods^
Ani> push them together
CONTACT M F THOP POWH PCS- M ETHOP
- W& GET APLIhoUP Zwl DOWN PHASES OF A NORMAL WALK-
nc tu s Am 7H/M&, wp'eg just sworn off one phase earlier at one hmb later..
117
rs
rtas*
P &U&LIE SC^C-WCjE
'Truckin' on down.' The double bounce walk shows energetic optimism - the North American
'can do' attitude. They used this walk like mad in the early 1930s - lots of characters (bugs and
things) all trucking around doing jazzy double bounces.
BF IpEA !<, Z ?m SWP* YOU BOfA/C£ TYV/Cg.
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118
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119
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120
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122
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123
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124
WHY AR£ P 01 HG 1 U&?
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TH£A£710AF
TO L/M££R 7MIN6SL/P" 6£T AWE UFB INTO it
Grim Natwick said:
‘We used to bet ten dollars against ten cents that you could take any character and walk it
across the room and get a laugh out of it.
'We used to have about twenty-four different walks. We'd have a certain action on the body, a
certain motion on the head, a certain kind of patter walk, a big step or the "Goofy" walk that
Art Babbitt developed.
‘While the opposite arm naturally moves with the opposite leg, we'd break the rules eight or
ten different ways to make the walk interesting.'
\tfdu me- iw mpw/wd M>m& in &fiu> upch hb sysim
Say' m mme a kjnp of ams^y wm-k - vye'p no^maw-y po miSr
$tlt UDK WHAf WHfiY WF DO JUST £ TUiN&B -
PUT 141 M PQWN
ON Tti£ FAS:SlfM(5 PC $ tT"CN
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bach convex
— AND bo V4H
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THE ELgQtN*
125
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ON The contacts The back, hfg is ''Broken' A H p-Tt foot swivecrep &\ckwA£ps.
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126
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a LiTTLF rn -FfaoNT - AMO M6LOO SOFWAVO A B/TOIV^T^ K&pmrwM ^
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127
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145
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154
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155
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V^R m EN D OF THRSp WAAK$ LETS LOOK AT WHAT THE ENL ($> WING,,
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yam 7
ATHLETE ?
UNCOORDINATED?
SPiHSTFR?
Q LAM GLUT Q LFLTI ?
GtAfYOS i EiP ?
cmpuz 7
bishop 7
Fin an a fit, 0
thief?
CH lU> ?
DRUNK 9
A rnt~>'\l
I Uo CpuFFH ct LN Cl An P -
?
\0 AH? OF G QUEST
K A -±"~
P.
T APT- THEY FUNNING FROM -
OR TO f AND TO WHAT PU FPCTF ,,,
WILL HAVE A pRAMATtC EFFECT OH THE RUN
sjSE^=
=a=±
iinia
KSSSe B.” '.".V ■ ji
200
$SF3=£ AN SKIP Zj J-EAPj CW -ffie- HB-XT 6 &&£$ Qll m cites)
'Tf'/AS' OLD WV LOONS A g/T um AN ANIMATE ROM> MAP, guTH&l ACTION S rt£ pmTOi 1U SJ&IC&
&ve&nHD& wgVe been talking about.
FIRST m BUILD HER STARTING RUN - Otf 42 - ££&IWAWG WITH Ik*. CoNrACn S
■ «
5* J cww&r
(^) LofiTNZT
«ar * itAll Pom -
.ARM SKTE#*!?
gfie starts owr W/rtf A veRY Contained old Persons Run - LIKE A/V ek-AtULLTE.
mP- nm> <GOE% UP ^ PO0i sW AROUND IN A -TIGHT CIRCLE
AND HEP HAND ACZiqN-$ xr&eM£ 5^-f 0«J8' PuNCNRL FORWARJo-
Cnp of woefe)
— LJ«P A gOffl
3S!
HAVING WORKED OUT %& BOOT, HEAD, 1M 3 sw) ARM ACTION, WE ADD 1ke.BCB8B& PIGTAIL
aj ca/W ACfow W flapping ancient gptms lAt&p-as. usual, poing oil thing at a ttml.
201
<S/f£ Goes up tOWN MORB AS SHE TAKER SIGGEfL STEPS -
202
Am sue goes Lowm as stm f&pamz to jump-,.
!^35's
WO A ,'£ GU$£ -
203
207
7&|£ OtP WPY AW WON A SIT FIFE A
WW<ltiG ANATOMY f^SSCW- gtfT
mu-YA m<x/mi$F/i%B8rrfcAT fcmuiA -
A STMP420 ^OS HOUYWCOO PEAT.
SHAPE f tUrrwrrH KN&S duS &N80WS-
with floppy ibu&m. ima&
a corner tfcw&N Sorrow fm> bks.
H 0 &S iUc Pattern of nm &irush Skip-
Puns in a«J Hops fpqm hfR ffft foot ant imps on ike leftFoot.
2- W1K LATTE- H&t B.I6-HT FvOT LANFl ANP SIP tbP S FROM it W IMPS
on -ptc SAME Fi&HT FOOT'' ~tHpN IMpiE P/ATS-V PUTS POWN ikt LPFr FOOT
ps Hok moA t it, uwbiNs on TUa s AAm toft Ftar, Ike* SAME wrrtfiteRf&tfpo
(Hm Bop y «ltps rfvlvoin&
K
■At
w
3 : /
2-r
, - f . - •■
' • fZOT
Xc >:.wr *
CSftfffCi x CCttPCT
> I
/ff <$
4^* Ha* Cn j^pf for-r
X CertPCr X OiHJlxr
<?
X OSHTtyST
f Hope of/ >^fr Fear f—
PU*i& iN
0
Tc as <sar
/wnciwuotf
RJ£ the- failp
X CCHtfiT
fc
» »
^ w i^r ftor -
NcppifcS '-•
K&rtFRx>T
^r'„,„...
208
a skip mo Pounces on ono foot
THPPT AP& AT KIN PS Of SKIPS BUT Tt EA^/C ONE IS
$rrP - h o p] Sr bp-Hop, &W-HOP, StwP-HO^ efc.
WHEN Go fORWARp OL\R fCCT OCfP& A BtT
We 'step and hop oh one toot-
then we change KEPT HOP ON TUt cthht foot
USUALLY, VVF TAKE TWICE AS LON&ON ifc STEP
AS WE PO OH The SKIP-
OR WE HOP BPPAPPy LIKE Tit QLP LAOfk SKIP ( POPPING ON 16% - ON CN&)
Xw 00 PCwN Afti> 'YOU HOP o vHZ - Then you Go T>cwN Ahd You Hop ovep etc ,
ON ON£ FQ&f SdMfc FOOT CW iht P&dT i-Afto/WS* On THAT FC&T
MANY THINGS CAN HAPPEN WlTilN 7?e Aero# MOMftA BYT Of ARMS, pGAS> r WC-
To MAKE IT iHTERBTTiNG -
THaPP Apt SO many WktATlOKS ~ VARIOUS TYPES - So MANY FbSSiBH-trips -
A LITTLE Girt shipping- Popp USES A DouBiT BOUNCE■ Him Quite PapiNim ACCENTS.
A prizefighter. skipping pope harpw ^swecT&e g&ouhd-■■ hardly any movements•
TiH&ES A POUBlp BOUNCE CN FACH mrS-WEpf SUGfp vfPYSUCf.
209
{ Lgik SAY WE DO A
WE WAtftHtFiGtiRE Tc -STFPsW HOP,
C HAN GE EWT t RTNP 2>yd HOP,
CHAN& PPPXj Crg-p ihJ HOP etc,
HAVING A07W> ft oar CvMtcH /WjCfSF DcN& -
HCpHlMQ- A&auNP Tue-gPCM To PO TiiS )
WHAT PO WE 00 F/RSrr
Answ. Tine CONTACT*-
WHICH QHf&? 7H0&U- BP S&l&RAl.,*,
Aftsmr: The ImFOHjaHT ONE S -
fi& NliH A MOAim. WAUC, MAKE The
TWO MAIN Contact POSITIONS .
OK, WHATS The TmFC>?
- i NETP, !C' AVCoMGPAJk'T&SH.iPS
U&T PO it ON f> PDR0KH\
' l PiiU- S7iClO& J
OK, NON WHAT?
Afipcer. Vi HU ., w#6d r ?A fiMm .,
Her? FHT tNTUe- NEXT Z STEP CcNmCrS.
lES MM0 THEM S FRAMES AfARJ -
i wrsaves* uz 3 oarers p&zsgjoNp
ajHiCH Asarr wwrfr was tweft
( UOpP&AHavriplfci BOO*)
U^-3 imve owr T&* A£M ^OWR^-A/OVV.
frn, NOW Air W£ HAW TbpaE Pur iN
The fkvsm FOS-iTtom ftSTWFfN &\CH
CCH TACTf.,
M(f WAlT A MINUTE, UA!S BE QxTVEP ~
lets BREAK The ACiioM UP A BIT*
ter 1 ? MAKE Tbt ARM EWING Ar US „
w tom- oh -fee 2-® CeNflCrpas rrew•? *$33
AMO THAT WU- MAKE CCNTACJC^I 7
Hit PASSING Fb£/nctf§ FOBTUeAfom.
OK NOW Km Pot //V tii e Po smeufe .
TH0 WQOtf> NATURAi.iT <SfO POWN A B(f
BetW-^ 4 PAcH Contact-
fim THAT GIVES US 3 tOWNS fWlTTCOHO
ONiNOTS A ~TP\PUE BOUNCE PUpm
EACH CNE&AIL- STR IPE - HtCE~
HOW ATT WE HAVe To Vo /£ MAKE
im&uJGmr Cushioning
Tt<cAm swings at each &yd-
T**tS WqRVT, WEll- on tuds C sutwe
Oc*JlP POLtek ITPVRIH^I gf AbixNG CN&>)
W& AlAK^'fte
First £tff
cvwt/icr
,.—JWvVAi .U|4/ „ WT „„
17
peor fAKfes
ypsT? ’
gaohT Pborn ^
r % cr£p^\
ccflmcr
Wf5e$r
Pcs * ra
POWN
210
A^l
\\
mow
ft£
OXilYTEK
INTACT
AMP
SAC£ TO
CONTACT
g£0< takes
" FluX <tsp~~~
cornea
ONTACi
c owsusr
COWWCf
WJP^St
PAS>itf£j
fWstfiOU
con'rAf-T
wew M-wm*
Tnt,Hm> Amt&
ON itn, fIR&r THIR
OF "flee, WALK
THINGS. UP
A Atm£.
C0W7HC?
211
I V^ C&ttLp AiOT&RL (he, j //vi /a/G OH A S KIP / /, SfOp K(NP OF OjAt? A RHYTHMIC pAHCfi
Ip WB HAp TV/S - ' - A WM[<1N<? DANQZ
8 mm 8 f/ms
Hop HOP .
o
o
Change fact g
^ HOP
8
HOP ..
8
y HOP
8
HOP
Cbistje, fa&T
Chelae ’fccH
F'-F TO CHANGE ~(%t RHYTHM SLIGHTLY, IT COULD SB
8
Hop
8
HOP
\
iOFam 8
HOP HOP
Ch 3 *ge fcot g
-'.~X
HOP Hop
V
iom 5
Hop Hop
r /I
C/unai? ‘tod
Ob 3na c. Psl
IN A EPOAP JUMP Pit PERSON STARTS' WITH A RUN and VVWP£ RltHNtH0.
WORftB IMTO AH ANTClRATfON- pMICm ftp ffAVB fkc SptHL KEEP Fs VPTOHBA
etees up
75 6£> P<W
Gm s pcwjy
io GO Up
$CfZU(i!ty&; .TOW TOMES'
OJV UWD/V6 HP
5/W£ 5qer CF THiMG IN A HaBUM.lLt to MAT NO PROGB&S. -
•/5m7 JUST LONGPNOUGH TO CLEAR- Th£ HUjBPLfi ' OtttTB SiNULAP-
7c A /HfifiBF W A PFpSp SM3W -
4<v'OP4> - !. i-V;
fitSHt/yz ytc ps/kq PbFY;4£C>
rt>4 cgrcv&L
Hf l up RPAPH ‘hJ S TRf=lCH LAMP 2&d To IHIO A PUti A&AlTi ■
ViTRp i& ANTICIPATION BM'tr POTS Hr iatt VpFy TSA&-
212
Get LOTS OF LOAN INTO gpp/BS,
7if/ffiK /W 0W> 'GO-WM^ ANIMATION MAXIM'
' wwetf y&« rmK You've gone far enough - &o twice as fag.
I
.._ ,4-.
WEN 7N0 SAY f IF (m lea FAB-You CAN ALWAYS PUFF IT SACK LATER
ELL, l NzVFGSAW ANY OAF PUFF IT PACK-
/
FEINS PpLFlGFKFMZ i p SAY, mil You CAN ALWAYS INCPFCF \r EATER.
Cano / mvm anyone increase it later either)
ANY WAN, IT HELPS To GET TOTS OF LmN WTO tue ISopm,
/
A CAFfccM ' JUMP EIKETWS WoRES FlNZ, ABN ACTION fS GOOD EE&Y ARE OK
. ..—■
Fur INTO DELAY om CFifie LEGS -
'iNFlTpC BREAK It UP WITH MORE ACTION WITHIN Tie CfUMR
(WE&HT) om a JEMP
To avoid Floating gnf weight -
!F A PERSON JUMPS IN The AtE
we've got to get action wimiNTUGmuRAL acton■
Get The AicNF GOING
OB The FEET GOING
WITHIN The GeNfEAf JUMP*
7 Vis helps GNe it weight W avoids floating.
Cctyp&c
213
I- £ i S TAKf£ /?■ JTtMIgS 5 TART I NO f ft)M A <5 /A/v D/Afc? R3*S j TiQfa ■
SOI W 7AK£ ASPtiT %c SAME TIME * I { Ql Spcmp S 76 FOTkaJtMP
[ft GO IMG To SB &&£&
‘To S/iOW 7WS W/7W
'CmcON GHApACmO
proportions. '
THt&iKJ ump is on twos.
/gtrop ows^, aw=s\
COWU> Be APD&D/T '
\ T&'VARNlSH'm J
MOTHiHQ WRONG WITH ft-
/ r functions w&t- -
/ HKFirBECAUSE
rrt not o vtpan miTo.
- OiMPUE 2 kQ SOUP
f
Bur now lets loosen
The. WHOLE 7H1NG UP'
\m Can go quite fats
gy PLANNING IV ON OAI££
Tui AWING IN
MORE GTR&fCH '
MORE CcMpPfFFiCN ■'
PRIAWEP yftjKfST -
/\0Vt RFVEfmS"
OFCONOAOy /\WPN'
SHIRT, AMY EXTRA SITS,
QltTWSUPT /$ MUCH
MORf FLttlP Avb ITTTF
( 2>ud C^rfoo/Jy )
rtt AiM MArn^oFTTSm
WHAT YOU UK0 2u*)
How much 6r how utile
You use these- wvice s
To a£T ya/O
'T/o l$f&T \G
Su T HAppW SEEN
214
17
a s >i a-o
20 '2 / -25-
|«WJl-1-[-j-pj
|
|
••fVi v 1 1° '
JX
3 % Sf 36 3B 46
/c iW 0a r
ww
(Va- *foJ£>S )
215
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1827 £3dwsdfd Mtiybndg&. HUMAN AHHAN/M-AL lOCOMCHOH
~tk$ /K y YgBiOSE BCCKS A& A TREASURE TROVE OF ACTION IHFC&WTHON. THZR& Np/TR.
-Hr/r-tm u\\f mm £m.p£ or -swce. Shcoti^g tit action m fp&itcf BfCK&gam gmss
SHOW'S tiS juSr inhere ~n^ UPS Hh t DotvA/^ a.qe av t^e lnff^RSVt ftw§cFiy-Bci>y.
216
FLEXIBILITY
AS / S&iT f 7 heSeaizE 2 Sl$ AHtMATtOH FLAWS-
WE EiTHeZ HAVElheAlONG KCtfG'EFFECT
WHERE &ERYWG MOVeS. ABOUND
Ikt CAME AMOUNT
ZW&ZYTrttNG fS FLASH m APocm
A.Li- OVER- fi’i PeAOe
WF WANT TO HAVE a StA BLE IMAGE
W S TILL HAVE FLEXIBiUiy
THIS, i$ how m-GenT:
"Tie Following devices apt guaranteed to L-imsfR up i l-coSfn up w
qivf Snap' v itautV to oup Pfpfoema/gb while Ke&pm %t figopf
Stable soup.
217
WE'Ve ALREADY INTRO PUCEb SOME OF jm£ DEVICES WITH WAITS zJ FuMS /
Wx I WANT TO TAKE EACH OF THEM SEPARATELY TvB PIG INTO THBM .
A GREAT WAT TO GET FLEXIBILITY IS WHFFG We‘&z GOING To PLACE
breakdown draw mo¬
or failing position
ok mipple position
OP I NTEfFMFPiATB RSlUON
Q whatever. you want to call it )
- Between 2 extremes .
whbpf do 1 ye Go in fi& middle? crucial! as wl'vf seen wm h$ wales,
lr GIVES CHARACTER to liiC-MQVF Lit a TRAVELLER - A TRANSITIONAL fbStTiON.
And where m par (Tic so important, /rt-Me secret cf Ah imaTon f 1 teilyou!
IT STOPS THINGS JUST GOING mpiNGLV FROM A -fe S,
Go SOMEWHERE ELSE YHATS INTERESTING EHRalfE FROM AToB.
tEMppy HAWKINS; A MASTER ANIMATOR OF 'CHANGB' SAiPTo MR
*PtCf< f PONT GO FROM A To E,
Go Fp(M A to xTo F,
GO FROM A fo & To R.
GO s omm&& else in iTie middle!^
A Simple , Powerful tool -
I FIRST GOT ONTO MS SY WORKING? WITf HEN HARRS, WHEN hRdCuT up MR
DRAWINGS, OR BITS OF THEM, W HEP 577CK THEM DOWN. IN A DIFFERENT RACE.
I ENDED HP FEEL HO SO STRONGLY ABOiuTe RFRAKpOWM THAT FOR YEARS
I WENT AROUND RANT NO sJ RAY TO THAT / COULD WRITE A WHOLE BooKAmJT (T,
(_ (T HA& o mjLOTOCCORREp TO ME THAT THS IS IT-)
Lm TAKb aiR
9- EXTREMES,
OF A MAH
Gom from
HAPPY io SAP -
RiXTiN Hit
M tDPLE FOSmON
WHERE ir
WOULD BE
GsetcMiy -
218
mi mm Bm kpowh exv&me
Am ^
■Tty-' ■>;/
I'e Puuu> £V|gv Jasr
%*L- A*
fer .„, ■ 5-14 y ~fht CyMA/£?£ -
■fte. CHAU3P
USAS K&sp
A.£. SVHP
S*t P«Sf* ir UP -
=T MCPP INTPR&SC
MOP£ "O/MVSP'
^ A Qtiicmz CHAf&B-
- MOep YlWJff
~ /4 QitiCKffZ
Wi HAPPMG8S.
(T WOUt&AFf&r
1h* Cy$gi<$. m)
MAfee -fte
AHO <ScWE MORE
OHANmi& muApPf
p££P
Ac, 'SSAAfe MCttfH
OWOFlT VCMH
■■■■:*
£>.C- sAKP
■iiWppy aw#
ai-sw /rwp -
/r viotp-
P!SreWDTkt.FpC£
Op^rOiflKS
"Ms eu&sks. Mem. pyps_
i I
A T&tAUY
PifpbP^mt cOIAMOS
QUpP r • /
Oil, Ott,,,
219
vo m go up
OK QHP SfPE?
1 NCE&&B
He S MITE?
Rtpucf ir?
£xrpm& Breakdown &ctg&«e
Fm*s Rfpdcf
fht
unhappy mown
gvmJmr
A SIMPLE BPHK
W& cau Start
10 Stitch mn&?
L start
to Be
IMA&lNATt'JP ~
THINKS
ABOUT l V
FALSE
COMFIPPNCP
■= / KNEW IT
6/w=S Seme
MOBILITY
OOPS,
Something l et?
OF
Pap a prink p
_ Yam Secret is
" SAFE WITH ME
220
Can go
ON UKE M \S
fC?fZ.£V&IZr?t
RXT&zMP BREAKDOWN 0K7IZEME
THts'p Bp Be-Tmz\
IN e£Yf=jS££,,, j
JU.iT A SMPiT
I iRf To IT-I-
Pi ft mass?
r
ITT TAD A ATS
* f jf
CONCLUSION J
— —— ■■—— , N , | , , - —■ . _ _ _ —
WHeRz WE Go WITH The- MIDDLE. 'TRAVFTllTCr pO§iT<oJ
fiAS A pRORDUNP BFpFCTONTl- rt ACTION. W CHARACTER*
l pang mV hat on THIS!
MAKE The FXtR&A&$ (oZ contacts) THEN iCte Sp&AKDCWN (OfO
Passing position .) Then /mm The next &£&ntixm'N &Tm ten
The TXTfimE ** TUjl MWN SR&AKPOWN. KEEP BREAKING ft
pom INTO EYEfZ SMARTER BITS,
(Then do separate % Straight-AA rnC Rons on separate Bitsj
221
30 YmS> ABO WHOM i WAS FIRST CATCHING ONTO A 1C THE 'STUFF, I WoRKEP BRJEW/
WITH ABF LFVtloW, Km hARm's EARp PROTEGE- ABF PBEW BmcTiFUUA 2nd I WAS
(Mp&3S$ff> BA ROTH ti<t Qmiry ANi> 3Uz QUANTITY OF His WORKS FAST Ak&GcoD'
WORKING OH TgUFH STUFF, ABE PRCPUCEP 2 O to 25 SECONDS A WEEK WHILE -The
OTHERS MANAGED to StRUGOLF THROUGH 5 SFCQHjS - AND ABES H/AS BF-TWE-
I ALWAYS fZEMmgBZ ABF CAYlHS TO MB ON A TUBS FAY
* PICK, iVf PONE ALLTkt- F-KTFFW £5 -
■TOMQBROW / % GOM<3 TO BPTAKTHBIV AU-POWH.
7 HEN Tkz £fST OF The WpBK I'LL APP \NTkt BITS W PIECES’
Maim,
LEVS SAY
AHEAP
-JUST
Moves.
RWP
ABiT-
so WE
c m
PO THIS "
—~A
A g
JUST
Putting
'ft ’jU
BpsNOCNN
iHTke-
fAiPQLE
i$ PULL
as we
cm
POTHtS "
THIS SIMPLE DVepLAP' QiVV £ US ACTION WITH WAN ACTON- MoBE bmGP-Mpfc UfE ■
mSiSHicEAW IPEA-
WeCAHPO If
\>m( SUBTLY
OB WE CAM Vo iT
brqadp/
Ones us
y MORE BANG
Fop ohr Buck 7
- (GIVES as MOVEMENT WITHIN a MOVEMENT-
AGAIN f
com
TFCM
Here
TO
HEBE'
A B
PtiLFED APART-
222
Km HArMtz would oftpn Do veK) imwssriNo thins :
Tnoum Hf was #y com n pent of h is
Animation AFiLim s. Km had aess
CONFIPFNCS IN HiSDRAWNO-
Hf LiKfd ro MAKS K,<\ll USB OrTke.-
FLomeh skft&nt ey cguck Jones, his
PlRSCTOfL AT WARtiFFS - sad LATtfZ OH,
my ptmome Swings-
54R P/3DM g£/M5 A LIMITATION, THIS
ACTUALLY WAT AN ALLOT To K&l IT GAVE
HIS Wm<A LTAmOT'Y^INSTTPoFHAVm
FA C l LB DRAWINGS FLASHING AWN P ALL
Ol'BRITie PLATS ~OV££AN(MATING f
B
l b often Find K&y making- an sxact
TRACING of MY f>pA WIN&K oKK AiJ USING
I f ws 1tie PASS WO PCS iTiOi -£#- ZL&TPoWn')
SlCTHLD HAGS ITTO FAVOUR FLAW INGA UHL
TILS -♦
OK 1Tb HjCF tT To FAVOUR pRAWm's" UKE
JUT
WATCHING WM DO 7HF - uj PfbiNGTtPlCllTV, I GRADUATY LFARHfT)
To uHLTRSWF 3 tb) GST SLStT MOVEMENT WHICH WHS St//4-1//HP££0
(smpis OVERLAPJ
gay wl have
A MAN WITH
A Tug&AN -
AND HF
LEANS
forward ...
/
17
IF WE T\iX
IN Ike- M \ODlt - da)
MAKg if C-fOZfW To
WF&eT THIS
WITH il&- HEAP -
W UXK WHAT HAPPENS
TO fkl TURBAN AWSS -
Irk SMCX in lu /V\ twit.
Ti-ttS CPFATeS
A U-&ATY NICE
OVFRTAPPiNG
OFltfeMAS^
ON A YFpf
Q IMP PE MOVE -
we've usfp
OH# 3 Po&ffiOtiS.
Tfc & 3 f mm 0
SlpAi&Ht
iN BFTWSFNS.
we've PONE 'THf€ OH A BfAHP D&.KSN OF A OlMPlT CHARACTER. - WITH NO CHTHCF
OF fXf&egsjCH - NOT 0FNA &UHK-MAKING A VERYOPT I WARY MOVE-
A HP yer ir wilt have a not of uff .just because of t«z spacing .
r So) WE POCK FOfF WAYS 7 & PlACTitie MlppLg Me&KCCMN POSITION -
{OF POOvonK) WffFPF W& CAN OFF AN OVERLAP OF 1he~MANSGO.
*MOVFMfmt within movement.
4 PRAWING OVP-RfAP on 4 California -issue mouse
224
Of Couesi =, THIS BREAKDOWN FbsmQH Kind OF 1WNG CAM GETOuroF HAND.
like everything base, nt how, vmm $0 where we use a:
warn i was assisting Km
Harris there Y m.
FFTTUNG UKe 'TUI'S, -
■ I P STARl IBEINC (DITYFR Kv
T tfZW Tie BREAKDOWN OFF
Ft Fetus -
/
Km wo um freak out 'goppamn \t } dick ,1 just want a straight in between ,
i,M THERE l JUST ONE MB A STRAIGHT iNBETWEEN! THE GUY JUST BFIAXES HIS KANO!
I PONT'WANT AHL THIS CRAaY FLASHING- APOUNP AmQVF&IUe PUFF KIND OF stiff! n
(' Km NAP AVVjfci-i uF GcoP TASm.)
Bur when I pip oft ip know how / when aJ whepf to use it / can almost
GW I MADE MY LIVING WITH BREAKDOWN PRAWINW
I OFrm HAD TO PRODUCE MASSIVE AMOUNTS op FOOTAGE AT The IAStM/NOIF-
I SfCAMU UcjEPEPHONE ANiMAlofU ANIMAT W G AT The SAME TIME AS POiHQ
Uhe business on To phone, Clients wocpd fantUYveCameio You Because
Of high Standards - we poNt care it Yolk aaahs in Vt HOSPitap of m
TiMBUKTOO - irk Youm&H/NOiT ON Tke-PCCF, BUSTER., — YOU FIT ir, f//
WE USUAUY HAP FOOD STORY TELLING KEYS %-J EXTREMES, SO A IT I HADlbpO
WAS JOIN A EOT CTSnlFF UP IN AN INTERESTING- WAY- I FOUND THAT A-l-AYTT
Anything wipe Work, put it somewhere else in me middle . fairly
i N TELL! GENTLY- IT NEVER LET ME DOWN ,
OF COURSE f WE WORK WOuIENT Be AS GCOP AS IF 1 b HAP WeT iME To ANALYSE
Dud AHtNK WHAT Tie Heel / WAS TODIES ( BUT AT U IN Tic MORNING WITH JET LAG,
HOLDING Tee. M/S PATH W A CRIMPY C UENT PHONING INK HOURS, ITGjETSYoUTHRCU&N.
225
non m Comb to 4 -thing way a similar name -
'MS IS m&££ THINGS MOVE ihi PARTS »
- WHppB POPS HOT HAPPPM AT Tk-t SAMP TIME,
TAKE A HOUTWCOp mU-BCG Ttf£/WAI&
QtMOAPf ABOUND TO QBE SOMETHING- "
HIS J OWES Wily N fC, H A 0iI Yf£<^
PfiAQ AS HE AT lit
TURNS' DESTINATION
ARP-i\Je HArp Down to nopmal
3 no HTTP on <SDlM&. frAairp MtcoUr K££p&h! \
i Gam ■'mfisMmr i
v W!GGt-&j
/S -The* JOWLS PPA&" 'TtfiAky fee. H^utr cfTT. man action
Tp THEN THT ' FOLLOW "THPCLtuH /y - BY IN. main achcH-
'OVERLAPPING TTtOH'iVmiS OHT PART START FIRST ^ OVfBP PARIS COLTW-
leit take at pi cal utterly bland, boring umm rke they had Ftp. tv aomef&Ats
m ife* rfo's-
iwc Ptl-
cr-muFE
i S ’ BOlHCr
TO TURN
■zA pace as.
Nor much
To WORK
w ntf
- is ir?
22 6
\m cano coM-meurz To 1&&. Bottom gy pufr/NG in M &Quau>/ puuc Bpm<pom
RIGHT ftt Hi e /VI IPPL& iW GO HOME,
A<z mutkAhu said, 1 jm most pimeupr th/mg to po in animation is mowing.
- you KNOW, THAO'S A V&2/ TRUE StATmWT "
'Right, But Needs hchv wp Can make "nothing' at C-g&r iNr&&srf/fe.„
WH CAN TAKE The (UU&F OFF THIS. VpRY ORDINARY BIT OFACTION
Bi SMPPf BREAKING TUe ACTION INTO PARTS.
Tiff 0£$ WClim
p&ogwty item
First, isurwete
^r«c/< with ocus
Ttte FOOT First
Fes ■
OFlAYteHFAP
3m)1i(£ESr
TU &4 ITT$ M0«5 ilte
Stomach 3ad Hips,
SrtiLF PeLAiTheHBAP
shtTHpomihabhmk
TtiMN Ss,Ve£YWN&
Gtsrrues
ivJihe H&P
ffcauows MSP
OR) St NCR MOSTOF OURBOPY AQnoNS START PROlU Tkt HIPS
pass ax
\np ( lu MOYe iU&Hips 3 ^
CTOMACH
Fiesr:
TAKRZA ST£P.
Or ill Pewy
T&eHm>-
¥03
Om^eFccr3-/l
cveRWHn£Hm>i$
IH MID TURN,
Tti/zm IN A SHOW
{BLINK-
227
m HAVEN'T EVEN TtLTEP HIS HBAb OS CHANG £b WS EXPRESSION -BUT
gmpih ey ovEmnme park w'vz ttrjEcmp gfe into a PEomvm smvoti.
HEAP tSTlipAm
AS m SfiSpS EA3K
SUGHTiy
Ok. OtUf^FiOOT
Steps over
as weight
I $ SH;I | T 7^/fiS
om
gfiCK Tzor
Rsjei A/m>
ftsHizStlrm.
W CM GO OH UKE Th& FOm/tfO,,
PASS pVS.
HmrAmv
PnAy-fitetfWD
.AiQhS our
At scpv turhs
VeiAY Ue H&£>
W/MS*
AG ARM S*V/NSS
rs^mes>
Hmo^nu.
rn-Aygp
Smi-ss
AZH&£>
‘TueAK
228
NO MATTER how PT AWVUSe ACTION {0 THATS CAUM> FO&r\N£ CAN /MK& ff
Mom INT£l2£SnMC BY OV&UaPPIHO "
PASS ft£.
TURHUtG
heat first
M STINKWM
MOVE WHAT
SHmimzs
H£ HAS
HIPS F&UOW
■the. SHOULDERS
AS HZ STEPS,
s lures ovm
Ftcsr ^li&htl y
3*J SetTLgi
just one Uttlz p&aip that? PiFmmr wiu cmahbf zvmmm-
FAS Ffc£
SHIFTS WEIGHT
To ClfeSiDE
Shifts weight
15 omeb sm
As HE turn
i-f£AD ,
Farr t& SpOiHG ovf£,
APM S'
BALANCE.
lzC SUNK
Him.
229
So) ! o MAKE .EVEN lit PULLET ACTION OF- FIGURE INTEREST IN
WE SPEAK Hut tOPY MX) SECTIONS - INTO DIFFERENT ENTITIES
• 3 mc ) MOVE SECTIONS - ONE AT ATfME ( CoTTANTP/ OVP&APP(H&
1tta,H&S>
it tSttoui-Dm
The. CH£Sr
trt Atm
f. feJ'fet-WS
vumv
'flu- ("KtS
~tk<£.~ feet
■
■And we Can speak it up into even smaller sfctomt if we pi kb ■
IT.
"People unfold one part starts first, gen fratih g -fu, energy
Foxother. Parts to Follow. - which thfn 'follow thkou&hl
when A figure fobs from ohb place to another, a number, of
things take plage no everything isn't happening 'at bam& time.
We Hole sack on an action, -things Pair start oh enp atfr k time
VARIOUS PARTS OF ft TOLY OVERLAP EACH OTHER. GO THIS IS W HATS'
CALLEP in flu GRAFT - VZpLAPPWG ACTON '
SAMPLE counteraction
Thefts hot much ToSHy
Amur Counter action ,
OBVIOUSLY
WE Po IT NATURALLY
To balance OUPNfLVFC.
ONE PART FoFS FopWARO
AS Another part balances
By going mac
-OK ONE PART GOES UP
AS ancthep balances
$Y going-Town.
230
NOW WE COME To ONE OF lP<e yfAOSr FASCINATING DEVICE '§ IN ANIMTON
flbREAKiNG OF JOINT.
\7& &IVE FLEXIBILITY
AN O'EVEN MODE INTERESTING s
•2U CCgSS/ VE BREAKING CF \
Obi nts 76 < 5 /^ flexibility)
i-o- WT KELP ON Pt>tl\l& IT To pOOTeT THM6S UP.
ITS QUITE A MOUTHFUL, JfiE PiOMEpR PiSHBY ANIMATOR VISCOVE&ED Tff IS Pi=ViC& 3*1
ALLThoGOOD Guys WERE DOING IT, BUT ART FASSnr WARWkc OHE WHO GAVE ITA NAME.
WHEN I NOTICED MILT KAHL POINS !T t l REMARKED OH Q w) MOT SAID ) 0 H ( WEll /
You've qotto p q that. * i think if ib oaf) oh, i nctcf that You re breaking
The, TO!NTS HERE SUCCESSIVELY IN ORDER 7b JWB FUX lSlPTY f " RED HAVE THROWN
ME OUT OF 1 &e ROOM,
ITS lot w Hat i& called -but what is it?
' 3 TEARING' MEANS BENDING %±l JolNT WHETHER' OR NOT IT WOULD ACTUALLY
BEND IN REALTY- v
AND THEN We'Re JoiNGlb KEEP ON DOING IT CONTINUOUSLY 'SUCCESSIVELY '
To make tNinos timber-
PiaTSMPLY, its this ~
WHEN AN Am
<5C^. UP
if Going To
com back
POm AGAIN'-
&
A
Tie HAND WIU-
KrtP ON Going
Bur
Tie ELBOW JOINT
bends oQ breaks'
Going Back in TLg
opposite pimovcN
- STARTING- ON ITS
WAV BACK DOWN.
231
NATWtCKfike FtE&T ANWA~0& To FMU-Y PBAW WOMEN, ALWAYS SAID,
XMFVFS Am &FAUTIHILTO WATCH /
IN Hit l c \ 2 Ck G&tfS FFlENO, AN/MATO&BILLNOLAN DEVELOPED 'RUBBER HOSE ANIMAToN,
■IT WAS NOVEL- sU FUNNY S/A ICE NOBOpV HAL ANY BONES EVERYTHING FLOWED WITH
ENDLESS CuFViMO ACTIONS^- LOTS OF VACATIONS ON ROOfts 8 k f FOUND FIGURE S AWHHG
jZOUHPTP ACTIONS-
Bur Now m CM GET CURVES WITH straight linesJ
GtfCCFSSiVE BFFAKm JOINTS ENABLE US TO GETTft^ EFFECT OF CURVED ACTON
BY USING STRAIGHT i-/«£5
WFm FFm> FORTVEP FROM TtieTTiPANNY OF HAVING To AH (MATE FiimffiY HQJ^
l ALWAYS H6Um> THAT "PFAWIHOS THAT WALK W TALK' SHOULD BEANYT'/fTOF FiGVHB
IN ANY STYLE f MALE OF FLESH AH P BONES, ’THIS OPENS UFA PANDORAS BCXCFSrtfF
WHAT A TcOL! ty/F CAN HAVE BONES 2aJ 'QtPAl&HTS ' IN CUP FiGURTS. duel StHT HAY&
fluid, flowing movement.
Due
FAfF IN
a«J oar
rfs $THT A WFULLY Pi&iD.
232
1 NO WOtiT PUCK Ike, F&O&00A WITH A RUggERt$&> ARM -
i
/■/cw |/VE<30 POWH ike other S/D£ -OtoC^S/Vsy S&WM3 XTO’:
W Tfl(S OXAiVPT AP-Thz 8m0 S <7ft v geMK£'A££r Pf//&£VU^Y POTPg.UA■
Wo HAVmr HAP To ACtUAUT BOHP OP BREAK AfifflWtf&lfe iN'RtAO WM YjET.
£«HTVMS£W/)
233
L&b po it again ~lhe el&ow im >s W -%e joints bpsaK in Succession
CfOlttq
Up
'm GtOfMG
mX&DYfN
£
u?lk GO
Ardoins
in a oi.ea.ir
Tl-TOW
N&APS -
RIGHT
Aw a y
~fl ie SOtNl
SGhAKS
W£ tup THIS.
UXiKAT
7t,e. Xk !
Mika.
0?PO&T&
PipgZicH
8
/ / ALWAYS TUttiKoP iT
At '‘DOS 0^QUI5 /
X
ccmiNugp
Its W/4AT A HAAG SATA PtTCHeg, Do&S.
f S
Si
ATT A
Xs again
f a«tJ 7W/$ /s 4
( G&ffi-P 7HHDW
TTOjNTS &EZAK
m opfmm j>m%w
oh coapse ms \
TC-py WILL MAKh
HU&Tt'vWtsS )
234
a WN&ro nt $&akimg iu e joints succ^/v&J is -
m fP-L POp S The ACTION ATAAf ?
mxr STA TTS MO YiUO AWSrr ?
IS iT-ikt. LLBON? The Am? ITt SHOU&&2 AWAO?
In' most b 10 actions cf-%& soDyJhe &ou(&£,ikv svmrortttc action is iNlfcHIfiS.
pan cops w..
(5o FAOM YouiCf-liPS; LO\f£,
FfSOM ib&HIPS, PFACIE: /x
JAKE A MAH S LAPP IMG A TA&L&Z Jhe ACTION CtAIcT FfADM HlL (4lpQ-
WL HAVE lots OF LEEWAY To AOCeNjiiAW Oai LYAG&LfATF &&A(<M6 j&iNfS
FfCAaZl i T NAPPE!As AlLfkp Tim W PEAL/TV-
(WNP5
235
L&k KffP OH H (rriMG ik TABfh '
ITS an AWFUU-V GCOP &L& OF How WE CAN ACHtEVB itte XAMB FlSXf&Ufy
AS'FIU&&&. HOSE' ANIMATION MY BRBAKjNG The- JOINTS YWEg&t$L WE CAN -
Going up - i i^epsow leaps oadike hanc> ppags.
NOOK
iwseg otfc
MfPDLg
Position t$
WS
poo
-fbe NftT ^
jgggWJCW
HAHp
KCWGg
To #7
Going pom - i&e fl&ow sniw leaps.
Look atHH&- Stuff
Going- on /n hbpf -
PASS
pos
NStNN.
LaoK jf
vmmB
OUR,
MIP01F
position SS
The LAST w/ng To HAFP&4 N
FkoARM fs cvwn surrLe,
FiH&mS- AP£ $riU' PPFWP.
Apso
Am
HOOK
Wtf&p£
T’e.WgXT
FPfPAUMH
IS-
- M/> f
FHK ONES,
FEFO'N
COHTMOO1U TA 8i-£,~^
236
ONE Mom TlMZ - SHOWIH&lke /DEA FiMPiy,
MOW G om To BANG Ms tfST ON ike TABLE -
BlSOW
UPAS'S
GOING
UP
9nU-
Gom up
SAM
a &H (3ofS Pom
AS HAHP CcMtlM^UP
s\
HAHO ft SnH-
QC\U& UP
AS pi-ROrY'
Ctf^gpS POWJV
rop&APM
Samps pcwiV
- PPGBAPt-Y
MO
}N&TW£&&
-roike
IMPACT
as o/v -rtit pp&o&pm p/&u
"77(6- jEpBOW WTS TktTfiBF?
FtRST-
rOt-!-0WFP BY ttHHsAMA
rl^r
= MORE UHFOIPWG.
IF Am -It^'JO/NTS TO HOT BREAK At The BAMF FMB
wfl l <ftt aU'Tm&> FummuiY wet a ever nffp.
ITS i~;i<£ WHAT i/'-m Do WHEN W£ MAKE A P&tQL APPpAG RUBBERY-
AHP iriS JUFT WHAT A BAIHH&E, H/HPU C-R CPiFTmu TpM PUT PAMCFfP ORA YAU DEVOIR
RCCpHTPiC t>AHCPR POES ~ AMD FfeEp ABTAiRSl Ti-UFyO OttyM GOV OrTAI&HY BCMlPJ
W si Oim To WORK YtfW "To GIVE Ifie mmCH OF CuRVAC-ROYT, F/ABPR- mofamtt
237
Bating oh a bas s phum /ms a vw aqyqoh ro smoam 1U& tabi^.
"1h\$ $mr Joint gumgSR cam pcok a wmty cowpuaw F/^-sr air Qik&oy
tier mw re /7W it pyprv cuahcz you gct, irgecmm stem? nature &d Smpw.
in 'Rmcm '-
238
Kesupt- C u&fAQois, iwtou>iN& wvvmmr- awa with a izutar-
Of £oaps£, p rummers do ar KittC& Of a-J flcm&$hes -
BUT THR R The. BASIC PATTER At -
&0/N& Up-
Hit &FBOW
AUeOU&HOUT
CCOM/HG P0$U"
W^COtCLD GC _
■SrPA(6Hf fTastt # 7 -fe '•£
CP- AM>« 5^74
WflCSEAAM o?ul>
A/^'Ve SAME AS ^6
gift AeW>' fte.HANP
AM PRUMSnefC.
TftlS icitu. FAAVARH ~ 7fie-f 0&\ ■
/ < S Wcr VteRYt^aDO <-p/\C-HG -
WA/eH NFE Ds /TOfatE AvAfETY-
^IT
239
AM OfcCmWA CONPuCTDfr gZGAKS JoiATZ iN SitOOpSSfOA/ Lifts CPfa Y
laowMp
IBTWtf
BISOW GOJ& KoPlWfiO /& I4AI*11> ad BATON GO SACK- i-V'^T /TE^Ki! FCEIVAEc
AS ELgoW, F/NSfiRS / SAToW 60 ,gACK -
Upfe r^e ike■ VetY »/fercew om /iwf SMflFM# car A M osical. &&$'***
fr i? happehiho w m A peek rear -
240
AMP TW/S is A fZgpiCW ACSTiCti FoP- A CCfiDUCTOfZ,',
-fHfcfi ALL Gross ftmAFUy
A< BUSarf 60SS BACA FUtZftffR
W£KT g&ZAfS SACK AS tfMS&S
W BATCH OMTili OB FVmteP
&*} &I-KOW CrAiCfS FC^NAPD
H-ANP m) WRFnSO
AS msaiv AftHYSP
it pocks cmsi-tcAr&> t Barwnmi ym stfft to think this wav ( ir ain't
/rs BASKSAUM Tfa-e S4#te ACTION AS ( 4 ITTINS-
Tk&TABPF Oft SwywS-'f&e BA-S'S PSOAI -
((ZoiMl-y A^l
CV&tiftti 7t) ii
OTP A FIST BROAPPY KNOCKING OH A PooF
CL-0% TO £
241
.WHK-Xy**
APp TOTS OF SIMPLE LlTTCB ACTtoNS WHICH CAN Sp FNHANCFP
with Just a tin y bit of ngxmm.
£AV f AHAHP CLAPPING "
M/0S.T IFAPS-'VP PRA6S GOING Up
wp&T ^ds -Tip p} 2 MsGcmGpom
Also, it helps to bitpl/yap
Tkt PALM SLIGHTLY QMlPcHtr
f on the contact \
A/Or AFT&tlU-e, HIT) t
- Pizpp/Cp iticHAMb thats
ppmofHT SFmnv.
%
IF it ic HAND STAYS IN
itit SMie PFCF it WhU-
LAO< VITALITY.
WHAT WW FP&-
P I^PTACtMBNTOF ft, e HtT
AG.AIM) WE COULP m THIS ',
&& 0 KTvm AS- FPFNODS
Tit wzisr is&tpTAs
ikt fing^h^p wcins
may be hawno op c oulp nm cm
IN BFVNppN Gmiom IN SFrWmi <SgPF iwn
with one meimm
Tiit WpiST Courp ARHiYF Fim~
AND Turn PISPLAC&
ihe Palm on The hit-
242
Of CoufTT, APPlAt&f tm &PLIKFrug-
so mb ppm /r Tb/s way, envious#-
SpA/vl/S'W FM^AjGO PfiZgOti CMpS
p(FFfpFN7P/.- Tips, OF FlTGfgS Ft r PALM
pPCM A PPUNK' OP A PiPtCMATt iA Upp-OFA BABY-
BccrTh-e PFiNCiptF IQ SrlpLTHte- A NVMFFF OF JoMK gfi&FONG, OFF AFT8ZANOW&Z .
PAUP GotiTtFOFS. i ip
AS FlLof-l i£)OeS Cova/
A VIOUMB.T'
Crom UP 1 Zte wFsr
!^A6© (MS
Pf2/&^G-
CoH//VS £t>W/
H/asr -smA
a-M/>s
WP-P/346S,
± 2 -
A Ma /vp flapping "
(A M /TAAiAM J
VmY FAPiPLY
ON OFFS -
c
243
IB OF&4 Tff FIN6&S A S |WAlW
fNmW&H GaiHG Up WOUU> B&OK.
Sutom %e mi town
P&G %e IMmwmhl
!F WE HAP A BFtfZP ' g^TFfep GonjCf UP
fW or COMf/Ct wm 1H& f&SSOPk
u&To ipeiHwm- /c
Oiy we'rl /MAwew a awl
HAVtzikl WMT
Ap£ne Bur
PEWY tie HA,VP
/US4/V, WA'CAV TA/CL ALP-THIS TcO FAR.,
gUT ThtTHM& IS To KttQW IT So WBCAH LS’L IT WHffJ AT WANT {WHICH TIUBTA POTT
TAK£ StW6CW£fc HAHTi
T-SCCKlpG /OfSfSTffeiC
v (Sow©
Qoopy f <TcoPi'
fiWg£ TeJUST WAHT
TO A BETWEEN IT
FAvot\m<st
TtATTIC-ITATT^
AMP n
wcmX>
BE FINE-
244
>E 16 OVERANi/mE IT wirHMRDKEN Ton
gcop. f-grfe 10/ it
3
I
2
life- WREIS Lm>
CLUNK'
Now how about ms for puu-m it apart?
3
A-
&-Bam GO F/RST -
T HFN Iv/e/sTS ULAP> Our
OR.
y It mmr Be H/ce to have Just one RREak
A S c
S'
ANp Com IN A BiT
As hamps nop cms.
i>
So irk AIT A MATTER CF PB2R&F -
Were SHowm th^>e pev/ces pizincipij^ in %e Haw-
in The- cmcrsT Possible state to /mm ir Clear -
To UMBER, Turns UP-TO Stop THINGS BEING- STIFF CH-Srtmr-
we cam usEWm iwcmxm Subtly or oyerdce rum
50 t kings go m:mmy ce mushy.
Bur ITS SURPRISING HOW FAR WE CAM GO WITH jOditS
TA have IT WORK BmUTtFUUY.
245
I i" 1 F ■ -ia-M MBI II ll l B|P|k nil i , :■ m.- -.w-vi,- I 11 ■ 11 II lllll I I I Iff I l |_ l j_
Flm&ILlTY IN Hit FACE
' 7 Ti&mk a Tewts etfcv to forget how mobile our faClC Realm are in action -Am trk always
SHOCKING TO SEE HOW MUCH DISTORTION THERE- IS WHEN We LOCK AT LIVE ACTION OF AOoRS'
CLO&z-UFS FRAME BY FRAME.
246
7 HE €KUU- omovt Sty ftww fue $M£ SMT7WW2 LOTS OFACWN l-IAPPmiNG &BLOW YUS
CM££KBDR£&. OuC UPPER TmTH Pout CMM6& PC&rrm A& 7H#fe£ COCKER OmO CVfr §KUU~.
~vt£ WWfi£P tdWfli JAW ACTION ic PFMApILY up W DOWN WITH A SU&HH PATERAE MOTION■
~fU
TpNppvcy
is 7S
FPgGef
jusr HOW
g!6 0«/O
MOUTH
canty
Ptfe. lower. jaw i s w/iVS£p /w Fj2o<vr cf- fte £A?.
OUR
Pewn sr
KWOWS
how
/r fs^
AMD HOW SMUU-
IT(7AiV APPEAR,-
ACJ g/WlT OFTEN JolC Of HOF AFfFt ANIMATING Tht KFAUTiFUE EVIL- Qum/ MAGIC
Ml PROF ON ite WAI4-'$e&F !H "SNOW WHITE W KeeJWEN PWAFf-C " (A W*zm of Rb\uSm THAT
AO ONE HAP F/ffZ ATT£MPm> SEfORE, J FTALOHESUCC&P IN ACHIEVING) HE &G\M£ INNIS/TFP
w hen animating cucse-ufs on %e 7 p waffs. he Got heap from Tie. other top men
IN PARING 7 S> COMPRESS em) PlSmo 7*e FACfS. //FA/AW &(t>*££g&ME. PoNr BE AFRAID To
STRBTCJH Tire. FACE. ft
Th&ZZ A TENDENCY
to have a simple
MOUTH SQUlIZJAm
A&DUtiP - FLOATING
ON %c- FACE
£ TR&TJ IT TO MAKE
IT AN INTEGRAL pact
OFlt^FAeE,
IHePEC a TREMENDOUS amount OF ELASTICITY IN OUFFACE MUSCAT -
A MAN
SMOKING
A PIPE-
LEANING \
OUT
Til, RIFE j
Sucking- in puffing out
247
T&& CMBlWlHG t FoF m «fits *
A
F
A£6F AFf^cZSp
To(X)
WPS
«P
FWTftafS
Mb$£
Coum go fzom m or -mom posmows to aw am e m aw s sqo&jcf, vawiHg it.
A&m^ With sqhabu smtorcH, we TP y ie> k&piu& sam& Amount of tmr.
IF YOU TOOK IT our &uD WBIGHOO IT- IT WOULP WFIGH 7 fit §AMB-
So, a&mm, nk wm /s amm ? fat, small , ou> t c&& t
A OOPHFT/CATFP p&F&OW CH&WIN& VtSff<Z A TRAMP WHO HABHTFAWN For. S Wm&?
V££Stf$ A
lA&OU&SR
RATING -
248
athimg you opt&J &&£ Good Across poinG*
£ay someone &m Ffcmrm&o -
irk c&uof
JUST TO GO
if CAM (So IN StzcriOKS "
Fi®>rlke.pi£' THmik^HCm-
from om
To YU t, OTHFR.
Fl%$r -ju mow, ru&l fbe> NO$e<- Tngb! ike,
mOfo&Fi&r* /i/o££ SfM^reWS- JAW pans 9^
■#■
249
START WnV %«* eVSS -THE A/ Km? QOiHg (‘OPy Vit CHMOE COULD TRAVEL "fe- FKF -
AS t^c- momt/-/ ovftZUPS W STg^ro/eS
6^V soMBQuh Di&APPQhrrm -
StaDt
FROM
ITS
opfostm'
'vw&Mmr \
H-APP&N /ViOP&j
srtowty ./
w /
THgtf ^
A,lOHT>/
props -
Tkt m$&>w W aaw
Rf^BS^ f u RRO iVS
JW CM )H GOSS /(V.
'//£ AW* K/VOiY
1U&7W0 FACH"
"foe-
wmie face
where
CONTRADICTION:
Pitrr/AlG
A BRAVE
face omit-
SIDE OF'the FACE IS FELUtie (IS Om THlHQ Strike OTHEO SIDE >STEMMING US ANOTHER
lb uketo Animate One Side separated/ W rw&v Animate -$e- OM&Z,
250
INSTAMT ££AD~ TRDFtLZS EeAt>AS/pry
'T?/£ HMSro (SO /.'V -f^e- SOCK £CVM£tW#?£ and IT MIGHT AS g£ H£&
~To Finish off this Section zhJ a& a Kind of R&/tew^
Hehes an exam /H FFFXIFIUTY-
AN ASSIGNMENT AFT TABS (If gave US TO FPACTiCF SUCCESS^ SBfpkingJoiNts
(7) JaKt ifie FRONT YfBN OF A FEMALE £ WAVING S/DE TO SlDE.
( 3 ) Have the, hips, work in a figo&z 8.
(D nave ik^ Head counter, ike- body.
Y±) HAVE the. HANDS WORK fNpEPENWm/ Tad STEAK iU,.JOINTS.
hiFEES 7&e S CRigBLF I MADE As ART &FToar iu& PFoBtfM’
Wfps
NOfix
m ft&jfei
Kino OF A SCARY TfOBdeM *3 AS / WANTED to do it soft of RhauStMT - EVEN SCAFiBF.
OK, WMAT DO WE DO FlfST? (iWNKS) DUHHH,,, HEY] OF COURSE -Tfe (j<Fi) - DpmtUo/fP)
7k ONE THAT TENS -ftw Stogy-
A/HATO NEXT? ff
(thinks)
OfTHOuTty...
The NE*r FXjtmE
WHEEe sHbTl Sway
Toilte other Sf 'PR—
- CAiTTHlO^iS
BECAUSE WHEN
I act iroixT
I TAKE AFOOT
V-x A Second To twoe
.. 7b ONE PIPE Aid
!4 SEC To SWING SACK
« ( second OVeSAO-,
252
V.
■ - ir a Cyci-p
' '.'.e l :ARTpzr
• eePEATEPLY
■ :r -W beets.
y. *
2*%-
iV^
sot so
- v //sic® -
■ ■ - 1V5 jLti I
- SfP 0 ZCW 6 ;
c- Fc&mcri:
' vsSV 1/|6
C
' S tVAW/Vfc
vv^y.
Jl
C *
M r
-•:£ H/PS
•lg.^/ 3 .
+
■5
J
. V. t
2 ,
— w/y
■- 3
>'fVGf
■,r rflfiS
: ‘ 1*1
V-ZOW
£OFF
- : P/P
■ ’ oriv^ty
m * j j \_y
_ i * 1 f
: . JJ.
Bgjje.
■■■ «">_ g fr -
Fu r //V'
ii&T To ^(i_ 1
FWSH/M 5 "
“u tZTH&Z
OVf& ■
iV Pur in
Another.
£XT! 20 iM£
HEX!
PUlWti S'
H 5 ^
Fft/STHEE
0 ’V££ -
c£v< r»>
253
/.'01V tr LOOKS
UKE ITS Ai'L
SC/W& TO WORK '
,7«c* We caa/'
kind Of iZewAx,
~EAKiNCr iT DOWN
outn-ifO
■\-i mjoy takino
Ofil ~f\!c Celt
fe/T 8y 5/7-
PMTTJAK 5 /A/ %t
-■AIDS CiRCOHG
0 THER
CliEVy £ 77 S.
“tfk ow/tera
APE SIMPLE d) s- 7 _9
aom OVER —^ .144 — 1 - 1
+
5
s
A.;.' CDM/A/6 back
A -
/5 fq 2.1 ?,2 25
/7 l
1(1
HK” t
254
rftm aw in ones iv^omiocrr- gitrufflj&ji&c
255
WEIGHT
■ ■ i
Twe F/jesr QifcSTKW / FVF£ ASKEP MILT KAMI- l/VAS:' HOW DID YOU EVEROFF
THAT JUNGLE KOOK TI60Z TO WEIGH SO MUCH f'
Aiy^W,' W£U-j I KNOW WH&tZikc W&tGRTK ON EV&RY P&4W/MG, I KNOW
WHERE Tkt WEIGHT IS AT ANY Given MOMENT OH %€ CHARACTER ■ I KNOW WHERE %e,
WEIGHT IS W WHERE ITE COMING FtBOM WHERE ITS JvSrTRALELLIN& CWER- >w
7&e WeiGHT /C TFANSFEFRIH& 70/
1% vj£ ALREADY Seen that (N A walk we fee Like weight oh it ie dowm R£/t7<3V
imssf ^ ws& jseajps as ir iae weight, A&sopsmTUt, wrct crike move- 0
But how about other kinds of weight? objects-light? nmY? flow po we show that.
Oml way we cam Show how heavy an object /s -
- IS BY iUt WAY WE -prepare lo PICK TUP-
Jc Pick up WEIGHT WE have 1Z> PREPARE TOR- IT ~ To ANTICIPATE Tt\e WEIGH I •
obviously Picking up a piece cf chalk, a pen or a feather doesnY
require my prepncavcn -
P>uta Heavy cione,,.
BHJ. /go F&EUHG OF WEIGHT
irMOSr BE A TopSf/PW£ Took-
we cam Suggest we set PYJuLT HaVineIHm
WALK ATOUHO ir - S» 7 WS ir up-
Howls Hi 5 Govtc-To DO THIS? fid CcNSltXglHG
WHATHEk EkOlfEr lt> PICK UP- HOW H&NY IS IT
Hpk AKnCiPATWO WHAT r& GoiHG To WEIGH „,
256
MAYB& m pavf HWEl&e Sc-RBSt-lTo HAVE tf/M WALK AQOUtiP, gt<TCm WAV
M01U&Z, m g?oih6i& MTtcmi£'ti^mt@ur
ne l t> c^wi'V $??m> m peer
nm mp S£N/> h£ ^
U&C W»HAT
1H6 S/we
Qgx AS £lCS£ to "/&# lAt&ISHf AS pC&l8l£,
ADJUSTS WMS£LF ^pvj 6o£$ £4C£
SC AS TO NOT PAmA6£ AS H£ HFTS
H f i ' SB-F> HE pO£ 5 NT
WATT A
T&m TO e(ST
MAJP^^ATH^o
W0SHT-/VKSHT
adjust n&riN
uittwS' £fT& -
e-RMTCA^y
jS4CfSA^3H
^evwes
AS pe T&6?
TO S€T A
pUpCH^f. "
BUS MCfeC OA WfMTEW,
257
a may carrying A Back of Potatoes on his sack smz >s 90m To ccamreAi^N cr ^weighs-
Trn WEIGHT FORCER WiS SO&Y CKOS<o-lke. <&6ViH>, K&PfNG %e- KH&ES Starr aA MAKING Tie f^-T
^ m.s AUm, Tk& peer also spwy our To form, a odptoftpipod to spew>iSe wpigfIt ohfr
a r-ARmr area.
fmr tour
com OFF
Jke GROOAp
VERY M tiCH-
A ixror j>/Frm&iCF in th£& waits cx. pms is p^rmihs> gy weightiIk iw Mim BtaMutts.
IF A Pem® & CA&TiHG- A HEAVY BOCK-
He weight wouU> romp., tie W scpmii f«- arms , '%rKKt> ^ heck couiTGcmtom-
Chuw sutewny
HELL /M/E
MOBS SLOWLY
BtJ-ftk f&py
WILL RAISE
ONLY BUQ-fU-y
ON. The
FASO IMS Pc&ffiON
^rTke-RYXK
WlU- NOT pAiBe
AT'ALL,
-HidTmm oFtb&rm-
Gould be erratic -
AGAIN.ifo
Prn^iNG ‘poor
WILL HfiWY
LEAVE The GKOuHP
rite kn&es w/a
P$TAA,iN &NT
ALL-TEnTim
ffXM Te WEIGHT,
STEP Pause, STe P,$T£P, fiMSe, Step PAUSE, Step, step, Step Pause, eh..
<y<) fa- could glide pApiury ^ rnm prop it
258
A HAND piCKm UP A m<
HANPKfRjOaibf TYING ON
ik^ zNcoutit0p&
NO ££S/STA/viC£ -
£ur A /-/AA/ 1> PieKlH&ttP A OJOCX"
mt Qda[s/» iA/mr wa-Ai's To fa. ma&WM-
~~tbz w&mr
OOTkr- m&K „
swsm^ws f
pfre ARM
dJ puns
iU suam e£
P£ s WAf.
V
MGi£ CFH&P
COl(U> Oppose
&HoOU)fiR£
Hki Am &
thOPlHGTo
SAUAN CE.
Tfe %OCX
IN TPeBSf {T
HAND.
PICK !AG 4 P A FfATH^Z
t^kr<soiu& to haw an y &mcra/ t&e SoDy.
nmPSlNQT'ie f£AtHf&StfApB **—s 7 c» V—^ tff “foe MOt/^ ^A£S 7 &t FTATHFR^/^I
o F Ca > A ££, OMe WAV 7 D <SFr H / F / £wr /S TO ££ OO /^ CYOWS - OF IT.
-fit Gm\r an mrofn, bhttytta &4y$~
vV 7 % Point ts that you art not /wmry smrno a pfnc\t ascnt gar You flAm
wmnrfN Your. W YOu do wnaw/fr you pos^pty Cay wtm rwr w&otfr
To comfy Sm&roN. it i$Asmuosu foa m ad i am caixicos oftA ir%e_ vm .
259
5AY A f>m&
41 A Eaucom ;
7h AHSHf
jtsrsrMsMfW
a sir-
A HAND PF&S/N&
OfJ WAT&?
lb WATjfR eur WILL. P0LLLV HAY&
HTtW=
-£/&■ peep a Ffw 7HffJ6S IVHfetf F*«. 4f Pirm&tTSF&frS BECAUSE OF 7 l&fc WEIGHT
d<d mAT'THEY'EP AAAO& OF,
A £tuK MAi^y
W(5UU> CATCH A
C^TAI*J AMOUNT
OF AIR AC IT FALLS
frRopS
HAS
AIR
^ wiu, T»tf£>W piCAf
+
HAS A1IS
awpgp. ir
A NO Semes
T-i^FA Ctf/AM Cwp-
*
A HgAVy
ovFPeo’fl*
FALLS -
CATCH£5
AIR
Bur pftcfif
FAST - If
WONT
IN It* MS -
/WKiSM THIS
WCULP HEY0E
Sgrrt-e AT ALL- 1
0OOtk£,
IN &Aurylke CuF WOUu> P&O&ABTV SHAIf&L ON IMPAQX
but m cm HM£ /r ScuNte Aecufto a mu
■; r AKF Fifi^T/PS wtw &0A(-tfi But mKe >T APFeAjZ &UWAS&.
jo
w )M/t
dcoAce
Ice
Vt f
Bowte
£enm>
S2L J&*..
pause Tffev (t sHAnms
260
A FAWNS LEAF WlLUUNG&S IN IhoAlW
AIR- CuRmtK WWAFFfCT IT' ifO FAi-F
is $plH& RFQt Sf£P BY Tk& Aid,.
r\ s ^Asp , ^7
r
•r
WCrHf
ikt,lMmGt OFTWfS
wok.f-D m smw
dui GfQ^fPUL-,
s«
,>e
i n? um£>i/ys fs (?fsisr^>
BY WATpfL -
A £/£W SKIP TOA WA£-T•
A mv SMA4-
"V WPPt-^s
towcw <5if(CW
P/SKIf%T£.
S/4a*£ so^r OFtmc* with
A Plpcts OF pAPW PROPPING
a pmmpwrm
IMJD YJAT&&-
c
Poem FrWNG ~
(A ^
peep A RccK
of so ~&q ms.-
RjpPtj&M&trGP
To%t v^rv ia>£F
CFTiefiDMP-
A gA^OFMUD-
TolHPS SHrif^
CMDgOV^P
WcUU> W5*P
wrmaMg
££>A/vJg& *J
Cewspow
FAST-
MAKgtf
gave g£>®
&M IMPACT
-rtieH
FMi. ■SjjOtyZfl
261
gapfv&lhe suPfacz is soft - &om c&zvs&g. - rr wouu> &t ve-
?&i C>%&
FiN&ZS
T~c> <5(VK
PR&$UR£
A^AM' w pickiMG up soMmm hfavy i Hi^whol£B coy will- h&p
Amp Tkt so»peg op . x
-tfe ACfKW K W t/?£ HI PS ' / \
/W PCmG UP A PENCIL*
^t. scwete of tv /cmv
/g mikisHS&i,
* oBwou&y
262
4 vm Heavy zoc falling - A HA&> gp\? PW- w//k - A sn# aw- m eotw-we- mu- raws •■
^ ftSEU-ftt IMPACT-H« 5t>X IS p/vCTAU-V CfleN
4f ff/# MOMSWr CF tttPACr,
lr
-THEN ROti. ASA/N,
it CWPSWOTSQlWfiH.
"the sound ewes whsn it
HAS ACTVAH-V UTT1** G*8U'4>
whem it rins ,t goiMtfS ar hm/Wepm'W Raus ib a aroP.
SHowtteCCAfTAcr
gur it pois sesrsquiiStf
a«p iMft&mm rises.
A tfffMiS KAU- WW- Si^tlASP ON iMmcr
PR££SU& is part of weight
&&U-ON
Ff&Fil&
To uCfi/NS
A P0ii< -
Twew
Pj&SAW ITS
Op' &>NAh
$HAiP
TH0&£ Distance C&mwa F£om -&*rr, Hmo- wp'ff trying to move
263
HOW MUCH EFFORT PO W HAW TO EXPpHO
(T) To MOVE FOMPTiHO?
@ To CHANGE Its PifWCTiOti?
(D OTTO STOP IT?
Y/itT 1N PICATF HOW MUCH it weighs.
J
Coming To a 'Stop /s r aft of w&gmt ■
g&/&S&S
■&L 4 DES
CoMim TOlUe PND OF A SUP&,
WT- 'fl£ fHHOWH
OFF 8AIANCE
Tm wtco into oufUW action
- UKE CODING CPF Aft ESCALATOR .
FrAHKTHC/MS SAYS" //
11 WEVF GOT TO to QOMmtUG To Top We. FOpWAZD ffzCG&S&m OF mpZVABTP WEIGHT.
! THAT0eR
WA% IN N\0HcN
wiu- my
To HTTP oh
GOING'
Ag/fti, HTAO,
HANC>S I HAIR,,
PRAPBZ y.
Go W£ STOP
in Bits-
each hit
IN PI CAT! HO
Tit WT&rr
OF ITSELF.
hprtW Miur Haul on it -
* SroTPm wms CONVINCING^V IS oh a of The DIFFICULT TWNGS70PO IN ANMATtoN.
Wft&i You com to a stop pick a Gcop Pitch to s top. How You cmcoatto ZtoP-
WHAt KIND OF A Stop - WHTTUPP ITS AH ALFRT Top OR A (ATT ONE, CHOOSING WHERE
7 O Do iriS AN IMPORTANT CHOICE. I HATH TO &FFA FOOT Com THROUGH dT LAND
3eti THEN N THING HAPPENS To IT i THINK WHEN IT LANDS WE OUGHT TO 60 AHEAD
ni PUT We WEIGHT ON IT- OP POCK FORWARD - OR RAISE We OW0R fCoT.*
264
So HOW MUCH FFfVPT (T TAH&C TO 'STOP £0/AffWN6 SHOWS ttOW MUCH IT W&GHS .
AiTO/ ike SpmD OF AM ACTON WOO PFfFRjWNE HOW ViQimtiZcePfAPFpy /g -
IF A MAM /S RUNNING WITH A COAT MAPF OF TTN, PONT MATERIAL- W HfCOMfS
To A SUPPfN STOP, The. MATERIAL WUM CONTINUE To FIDW l To ITFP OH GOINS ~
Toqoahfap of him /NPFPmpmvf Turn chop $ act iud $&)
Ours- ^AVffFiAC coMnwDrs $Frr\£>
A WoMAU IN A SilKMimr/F-.. ike MAtmAH Will Blo&Soi k ^ Flap Violently.
SO 'WHAN SHF STOPS', HER ClOiHF S a»A HAIR Follow THlZOJ&l A/^V/A(6 MW ACrO/,
a A/D OF corpse, HER AWN ACTION ALSO $X>P$ W PACTS’, FINISHING UP AT PlFFEPfti T 7/MFS- ^
HA& THFPT EVER BEEN AN ACTON WHFR.F AlF~fk<& PARTS OF A PODY MOVEP UNIFoPM.Fi .
I EXCEPT IN p0$01^ %iS PSORAm NOT EVEN IN
AGAIN, 'fOllOW THROUGH ' Ffhe RESULT OF wJ T QBTFRATBD B/iUz /H AiN ACTION.
265
J§ar f&e om WAY WE C4N gmttX 5HCW W&lQir /S wnu Hit ACTION.
SAY Wp'&E PfCK/AI# HP A HEAVY BATCH OF HA) WfPi A PrrCtffCEKr
\
anticipates iht Tppcw
BY GOING PC«iV -
3*Y>K
A#XH
gzvtzpses
AG AW
266
BACK To U FTlH Ci A UCCK A&MH - Wiffl QU&S&SftOtiS £>F HCW To p$EN< THINGS UP JNTFfliSSVN&I-Y
one H-Awp
STAm SACK
sot>y srm : cmr m
ttAHpS POmYGC
eacc atwsamp
time
fmps DcwM
SuT HOPD Hl3\p SACK •
apmss? niettEs s«r
not To&erifeg
tffAP £T<H-
fipMPWHAT PElAVS?. ftrgp spin,
o*i£ hand pfscess soMewwvr
-Jlut, OTHflU . Pg-HAYS? •
PNC rWO erflttS
J|W£
fWFSP;
(££A£S WITH
<?Tffl=f3. HAAID
COMPS
p£?W« i-ATE
apji,{st< Burr
Sioe *i& sii>£
StW&H
AA,nS AHJJ Top
scWSDS HP
U3S? SffiAleHf©'
^HGt+UY
WftS AS £cpty
<se«& ?Ac^opc3wf^
7^1
vi em&
to sopy.
Lg^SHAKg.
Kmpt¥£&&
zmr&ce.
tmsTP* i6W®iS-
SQjtfe-ToTP/w/rr.
Losgs,
gccp sops CH€&
his N@d
mv&sF$
jpecov^
267
A /VWN WffH A HgAVY IMU£T /S <SO*W3 ■£> irCtiAN AHVIL- '
C=J
^ W(1H MOST gf© ACTIONS gflr« 4pcH SICK A£cH -
-ftt hEj-Vic- mass 5rwtititu.«pcrf Goes Ccrtv^<
ft n ^ A
$TMZ& ItC&tfc AT
WHfRe' &>tM& T& Hit*
HWW!'
WPS
Ftipc T«or
Fenae.
'Safest-
w^u-er Art P
c^MUOSO PW RiA-ff^-
AS HEAO A«P Ai*MS
STWir rfcAvJAAP
©Ml? p«NW
fefwgsw Hepe
Wi WpHtr
" no ifiewi^afc
*** ^e^S! ^
Trti= S5UMP (o* -We ACOsNT') Cott<e>
a-i ute fpame AFnrg this ,
j ir«wies
3acF A£dti
p« 5 /e( 3 as
Afi*[N
<S*v! The PPPCWP AFUSgL lZ*. C 24 TACT
aww-et jTwgs -JIM./MVIL--
SO WE IK/ TO f(ND AM^-fee. 1K/2.IOT5 fOSSfB/M77P$ To OaNW*/ WEIGHT VlSUAUX ~
Can yifjmay pajzts ?
QO FAST AHP> SlOA ?
i{SF VtP ANP DOtfH p
Bmx-rk* JoiHPD p
p BYBR.&F'flu- BoD Y p
SHIFT iU e WEISW r P
— AAil> SFl-TCT WHAT \F£ NFFD To PUT GYFfY WMT WE WWT,
AA/O WWET/ I//P Av£ AU-TMS STUFF W BttXX&TpflW - CONCFNTEATF OH PERSONALITY.
AlHO K T>OlM& IT Sett) /A/ HWT SiTUATiOH ?
268
Pmhu tti& ?J imm to cham 3 £ ptmrnoN si cm i %c weight
m Tatuim a eom& cmm chappn pip a famous skipping ok hopping tuPM-
Hp Skips ZOCiNP Ike Copn&o iti A CURjfF puNS OUT itu OtHffL WAY-
l iKF A MOXOkPlkP H'F LEANS INTO ihe. Qu&ifg OF %€,ru£N- THE F&TT ARFCFFSm at 1U<i
tti gp/WWIS To /AAKe SKIP-
ip animation - it m skips fop about a secqnp ~ .
A WAY To Po THIS Is to MAKp A HFFIF2 OF DRAWINGS FROM Z To 0-4 (lvFN NUMBERS )
THEN MATT A NOTHTF &F/FS f . OFF&T GUSH TPf / FROM 5 'b 23 (_Ot>pNtitygT&S)
THAN UP iNTEfZ/TAVF T HEM. (WfL MCPp ON THIS ■$£&' VlBPAVONTj
( pahcimg)
Gd FINISH OFF THIS SpCTlOH OH WEIGHT WE SHOULD jNCWPT pANCiKO.
Gho Season f t hat Hit essential part of panc/no is not whats happening to Fum
Bur WHATS HAPPBWNO To TkcFopY ~-(t<e WEIGHT -The UP TOWN OF Tie, BODY-
pm HAfTC a«J APT BABBITT WERE BOTH SPECIALISTS IN VAN CL ANIMATION ^ THEY
fOTH SA IP EXACTLY The FAME THING' C's The.- UPANP POWN QNT&SOlNHANDS
THAT is Hm MOST IMPORTANT TH INS IN a PANCE- Ifk WHATS. HAPPENING To TUe pcPY
WITH Thz. WEt&HT MOVING Up 2*3 DOWN IN RHYTHM ■
Turn we CAN puriUo FFFf ON ANYWHeRF-
269
How i-ste,ril-i*- HP
pfaw-y thpoa^u. m>y
up a«.d down' di 2
Swm&Hu APJYS AZCVNP.
TiHie BPAr 1C OH i&s
&VE& 4** PRAYMIS
is Art zxtp&me ~
•f fas is au- on ones
%U t) JI\ST NP&vS
3 SimuS MCp£ OIZ UE^S
STRAffitfT MBmWmiS
KEiWfrt each Pxrpm^.
jo\m
£®
tv off mr
NTlClpAC
t tip
+
d -
270
q h a paw ce -yiriUe wyt cw we F&pcitioWEtGtti al’ 1^sow oms tovn.
+
+
S3
p CWH
cw ‘fft e
t*
JSAX
ftEY£R5jK
+
WE CAN accent ZiJH&l
-the, pcWV GdHieMP
OF ike SOP y.
<p/v A t>AKC&, tF we Bet Most
OF ike PIG G&O&IZtfSHT'
THEN WE CAN AUACQT iitHOPT
ills, urnF &EATS OR TFCONCmy ONfi.
Pont spam p t/me
CW Hie. PvFW/Tf2&WU- -
AVVWNS iHSS THAN
Wr Fp-Nmi WONfpEAO.
Gprikc AAAW Trtiin ft&tT - PzAHY Ft&fl ■
7ft£i\f spppcRT irwffH ifcaypAPi &m cn
271
"fe HlfS Tmi SpCULEPRS
TpUp To COUNTER. RTGH
OTHER AW'lke.VMB -
£HOUU>FR Fcm.HfPOp
GHOULDER UP, H IP POWH .
TTvisr y&e s^py -
H^AD at OiPFRRm AM6(£
to SF0UU&2S.
<W
LEAN
tffl&lbe RcPY
Top. PYNAMCZ
Wm ChaNEWS
Ttzmoiv
t-f&OWnp
HI «- H/rs
2 £fU&
W&GtiV
SW tPTS
with pahc&s-notice itio Tw&r w-fte §houu>&&
A£ THEY OPPOSE-fuo TWIST m Tko H IPS .
0 (V ~fo& CtoTCTfla WTT
T^pti
om&rm
oar
OH SYNCM£OHl£if& itit action to a musical beat, th^rf are 2 RmleS of THO/m:
{ rule of thumb #i ) HA VEHkt visual accent position occur, 2 - frames aheap
v- _ J OF ill € ACTUAL SOUND - PRpCF&ME Ike SOUND S/ 2- •
So '/VF tAAl EiTnVfi- ANIMATE Ifte Hit X FR4'HK AHEAP OF Ike SOUND
OR, )ftE CAN ANIMATE LEVEE WITH The SOONP At 5 AWANCEiUt PlQVRE
_ v IN -ffte EDITING, LATER 3wJ OFT TOO FLOORS RIGHT Ft MUCH pRffm this)
of thumb 'zj Many pm achcn zbnazs often Furwht visual Hit ahead o/^Ti^ imm
-- OFYfre CN&AlL BEAf( Wrrii a 1 2 FRAME BeAfTHATs i Frames AHzapcfH? SO N£>'\
as with dialogue, i think -fue &E$r way is to animate Levee with iUt Sound -then fiddle
WITH T fN The editing TILL it LOOKS JUST RIGHT' ALSO WE LEARN TH/N&& THIS WAY AS £t,!t££
Of thumb all only what they ape -rvl ?$ ofthu^ rf?v rr&id see what works best-
MAYse its gErmCONG FRAME APVANCEP, MAYSETWO, MAYBE % OFT MAYBE its SESTI^VEL,
Art never gemr late.)
272
ANTICIPATION
is there Atixecpi mo pcttn't know what this, guys going to po
'to GREAT AH iMAJOR -, BILL TYVA S Mt>,
iS T WR& ALT OHPf 3 THINGS IN ANIMATION -
r .——\
1 ANTICIPATION I
2 ACTION I
3 REACTION J
AMD TMf'Se IMPLY Tie. REST,
learn to no these things well
dL YOU CAN ANIMATE WEU- - *
CHARLIE CHAPLIN SAID,
1 T ELL EM WHAT YouRe GOING To t>0.
2 PO IT
3 T£U_ 'EM THAT VOUYE PONE IT
273
-;7,e QppAX FffllCH MIME, MARCEL MAEC&U SAYS,
\ ^US£ g/a ‘ANTICIPATION?)
why? secausp tf communicates what is com To happen- _
/i.iiP^CC S££€ WPAT fS GO IMG To NAPPeN - WHY SEeTr ANTICIPATION
aJ 50 T/#y ANTIC'S PATE it w ILH aS t TNaV So lira tfS .
WY? PfCauSe FCfL ALMOST EVERY ACTION \NE MAKE THERE IT AN ANTiCJ PATCH ■
m think of things first -than w them.
UNLESS ITS A rPTTTOGTAMMB> RESPONSE LIKE SHIFTING GfAlT ON A CAT
or GFTm& pppmotp we Know that we think of so/nmi we fifsfthci po it
As with speech, wf know that our Spain fixes upon 1h Sense of what
IT WANTS 'to S/iy -THEN OOFS INTO A VFpV COMPLEX 5£j0£S OF MUSCLE
Detections to say it.
TQ / AitTlORA VON IS The PREPARATION FcT AN ACTON, ( which we all &goghis£ wm
ANTICIPATION TAKES PlACE IN ALMOST EVERY ACTION" ^ ^
W CERTAINLY IN EVERY BIT ACTION-
<-
AM tulip A r es
Acnon
— CoM0
lilt ANTICIPATION IS ALWAYS IN Th& OPPOSITE PlFTCTiON To WH EPFThe- MAIN ACTON IS GOING TO GO.
- Fl-OP$
any action -is strengthened fv mm ppegeepef enrs opposite.
ofcounseA
WZLCOF
POP. what }
s Hir /
274
if action, i s nife,tyna£ copy
w NAVE ANTICIPATION OF
'IJcpMS'NPOLiS LATENT FCRCfS.
USUAlPf ike ANTICIPATION IS SLOWER- ii$2 VIOLENT 7HAU The ACTON
CLOW ANTICIPATION ,., ,, ~ZtPl ^ FAST ACTION
gpmt Sim wwt> HP TH0W pim 1 U BCPY INTO IT fop 7ti e IS
A FUNNER WILE <Ao BACK B&fOPe C-k'iHS FofiY/ARp
ANY ACTION CAN BE ENHANCED IF THERE IS AN ANTICIPATION BFFC&Eitie ACTION,
(fiS) WF CO BACK SEpoRF WF Co FORWARD •
' WE GO FORWARD BEFORE \NF go BACK-
m go down Before me go up.
we Go up Before we go down.
The RUCK is -' KffoRF WE GO ONE WAY - FiRDf Go Tie OTHER WAY, '
275
OF COUPSE, WITH A "eAdroOti' CARTCOH '
ANTICIPATES HE pxtr
F&mps
FiNGFR
-■ r «\T : c.— t-_t >*.!■■-
m pmwms going oar— nes justgche.
anticipation happens with smaller. tJ unl>%z&atel> movements
(Setting up rm a chair f we gosackcefope we go Popwapt aJ loan
MTtCiPme SACK Q0f% Fo&WARP UP
To Go FfrRWA&P QAd PCOlN TO GO
QomcNe /waking a point -
W0AK ANftOiPW
aJ Weak Point
NOW, MAKING ACTION STRONGER '
pAEPAmo Boot wk sp&tmy saw flrwapp
Gom SACK FIRST //VTfie OfHXiTE PlPPOflON /uAGN/FIPS. ti. feSUL-F
TAKE A SIMPLE THING like - s taptn&a walk-
ITS UNNATURAL
To start a. walk
with The-
FAprmr fcct
fp&TA Ha
PIRFCTtON
W EEE QQIM&,
Th t OBVIOUS WAy
TO GOTo HIS LEFT
tsrosim wrr-M
HIS LET FOOT-
S TART ike. WALK
WtTU Ike. FOOT
NEAREST To
where He's Going -
27 6
Bur He Coulp
AHTiapAm
WALK with
his mur ft or
UKeiHis -
his right foot
could Pack up
AS AN
ANTICIPATE-
&>
AlT&TJATUP/
he could
ANTICIPATE
HIS WALK
BY $/CKiN€; up
WITH HIS
pepr Poor
in ofLom
TO FREE
HIS RIGHT FOOT
7 o sn-p over.
A ballet PUe
IS AN ANTtOPAVOH
stjcrz jumping
UP m ihe AIR
Jo Do AN PMRBCUAT
= Vi\&&UN&F&J
' f&t Q}(*-h>
V
A Nm ON A p/VlNSt BOAPO
START WITH UlcpSr'L&S
(back Agpu RjWSZSmJ ‘
AHOJHTP-
ANTiCipfiTE
(arch R&mss
' AGAIN)
277
WITH SMAirlER ACTIONS - TAKE A HAN0 WRinm -
but jmr by mrm&iH a smi ahwpavs up Btfotm uz nws - m rm- %& mzson thinking.
oe m can use rMMW/Wr TnmmeAu G^Srwees as ANnappmcH.
Gay a srtcmu wcwah is Gom to pcfTHtsR Hand on mpl* (nr a a)
278
IF SO/HpQVfX GOING
lO ffiT SOMEONE
H£WOUi£
anticipate mow
Bf~jrORF SW 1 N& 1 N&
Forward.
~tl* ANTIOlpAVoN
Tm^us exactly
whaFs &omevo
HAPPEN.
!N ike EARLY DAYS OF AMMApON He CONTACT MAS Pi HE HITTING? A PUPPING "
Qiom watwick said,
"at D/s/Vgy‘s t learhfp Hon to pflneF A punch Fpav\ aRt baSP/tf
ART SAID,. ' Pp/y'r StfCW -fftfc /MNP H (TrlN&IUe CHIN. SHOW 1H hand
after /rt pas -tue chin W Y3e chin //as /vtcH'SO our cr pmcp' / y
Iffe HIT WMS
Hstwtuy
HS-Of&p
4 FRA/MgS.
iS/w w^Jwsr
SHOW Ihe RESULT
Trt&REK
no Point
OFCCHTMT
WE leave our
-ikL CONTACT
W SHOW
Tie. HAND
pmriue:
HITTING
POINT
' 10 TIMES
The IMPACT
Km HAfZmroPMp THIS IS WHAT THEY PIP in old YVES-TERM FILMS. 1vpf WOULD EPlTOifT
-fee s font of contact' ppamfs to just show Ik&RTSuLTOFlke Htr*d Pitta big BANS at tr.
CO, YtP puriCitSDiMP HIT WHEN Ike FlSTlS PAST Tie FACE - WHEN ike CHARACTER- f& P($LOP&&>
Tab-fUg .arm s wings 'Through * we oft~ jp£. impact, ike suzfigth from fe dcplacriviwt
AgaiM,
Ihe ANTICIPATION IS- WF fT&PARF foB~lke ACTION. WF BROADCAST WHAT GOING lb Do.
'7 he ONLY TROU&-F WITH ANTICIPATIONS IS THAT THEY CAN BE CORNY.
Who AUDIFNCT OOFS* AW SURF, (KNOW f / OpF, NON YoiiPP GOING lb Do 'THIS „, %0&MS, r .
CO THEN Tie GREAT THING /£ To DO SOMETHING DIFFERENT' A SURMISE -
WHt<W CAN BE VERY FUNNY (_OIC SHOCKING .) JUST PONY VO H/PM 1 &CPE&Z P.
280
CoULb SAY rm Am ANTICIPATION IS AN EXPECTATION of what mile occur.
THE AUpi&iCt &cpea& SOM&MlNQ To happen before it actuary HAPPENS ,
A SUfyPB-ISE GAG WOPm WH0N Ife AUptzNep $=&DS Ifce fKp&OrpcflON W ^^73*
A C^2TA//V THING Tb HAPPm W TfW SCVH^W/AG- <?«/7£r P/FmRfNT HAPPENS —
1?ie INHALE IS.
TUl, ANTICIPATION
jMHNS ^ANTICIPATION ACTION
INHAIE K /HCC£ ACflQV
anticipation
MCfcfZ /NHAPO ACTION nshCVON MOPE YETWC&
mope ANrtcimcN Cfz&sm-T m&noN &mncN.
281
INNISILLT ANTICIPATIONSJ
A WAV TO OAT SNAP' WHICH ANIMATORS APT ALWAYS TALKING ABOUT IS THIS:
CAY A CHA&TTH£‘ CCMFW/N& M TOLY CuRTPi^lMG fa J LOOKS UP SpCHTUY -
VYB Pqr IN A YFTY FAST ANTICIPATION ~ A PPAWIhlO OF TWO IN. TU OPPOSITE Pif&CTCN
FfcCM WHITT WF WANT To GO- Ifk Too FAST FOP Tie P/F TO SpF tT - ntjuST FcfZ,
cm op TNO TFMFT - irk IN YlTPlT "lb te,lT/F BUT WF fTPP IT THIS GIVES iTfte-SNAP
Gay A SCCC0T GOAUF /S GOiHG To STOP A BAAL Wtffj A OjfZCUMP FOOT FLOURISH -
/ Z S 4- 5
OF Course, fu FOOT FUomstt (S TfSpLF AN ANTICIPATION OF CATCHING-fa Tm~
283
7H& DEVICES NFS AN EXpKA PUNCH To AN ACTION SY INVISIBLY ANriCIfAT/NS ANY A&nctf.
llt rut SAME IWNG AS A WatuZAE ANTICIPATION ' JUST<30 ike. OPPOSITE WAX FII38T—
mr only pop. one, two oc three frame s .
A BASEBALL PLAYER HAY HQ OUGHT A BAHT COULD ANTIC) pm it ANTICIPATION Cf MS THROW
For jm T 2 . FRAMES -
ANTta. FORWARD foil ZF^MES- NOW CO BACK INTO TTP NoPmaY ANTICIPATION -
//
whenever p&s&t&LE wetzy to find an Anticipation (of mrciAAmii) moPT'tt action.
OnA SAID/ \\ r i
TT SIMPLE.
&E PI/Z 0 TT
Bp CLEAR.
* PT VERY SIMPLE.
make a statement- ..
W FINISH IT-S(MPP/.
Co. r .
AND
1 WE ANTICIPATE Ike ACTION
2 PC IT
2 W SHOW WE'VE PCNEIK
X
AmapATiOM LEAPS ON NATURALLY RIGHT INTO iAKm ^ 'ACCENTS'
284
TAKES AND ACCENTS
Accmr />
TtilS. /S Tkc. BA S /C PATTERN OF A CAEOccN TAKE.
HzFT foliom /I OF foFWOS w VARIATORS ON HoWftfCCb Tft^
WcRm> OUT (M Hu, l r f30 l S 2tJ KO'S _
285
but mt& w£‘f£ Ant { wb could srRm&THm oa(U?Mit W£ by APPtne (M
a slight up AHwacm&N of me pom AmciPAT&n ab hbtai^s a cumr pock-
a SHoer
HAffytfZ Ux >fC
S£pS
semes
Hzm A FOPMUi-A FOP AN OfiplHAP-Y STKMSWr UP m) pOYM TAKE (W / Fbo\*%$&
(r«sts Vi&HpY' type rmm)
8 M
+
town on twos
glMLAm
2 3 4- s
pom owe |_(—|—|—i
( 2 3 4 S
on
I—H+l
5
sue ACCENT 8
is, cm -mens
A , foR. -Aemm
\ U \ \ trt&1 ITS AW^&i
AC) Off ftk Yffl
VOHti To #IL
$(6 /s-fite
POSITION
r ^x WgRgA.ft
0^3 \
°2
S b 7
a
4__I
UP ON OftpS.
IO 13. lb
1 4 I
44
££>WM ON TWOS
/ 7
9
n & n
44+4
tfp on oam
powh m "TWOS
286
/teen's Hit SA t m mm gtfTwrrH f s* \
warm &> SHom -type t/m m &- ( jw <m%,
Atm, tie acc mr
IS ONiXtttT
A'£ /ri‘ ALftAty
EM (SOUTB 14-
8 9 to tf
(%■ 13 if
-H-l
pCh/M ON OftEST
rnm fpom fit
t
7
svwf th \hg wttu in nw-mr NX airway .
(tW<£ 5 <?/V£ fctff ■= % <SE&)
? II IS n
TWC& |-{- 1 - 1 - 1
We Can exagge&ne &/&xthimg
as much 4 C Like INIhe-pg/wm
fXiTTbi& AfX QTANmZb TfMIN&S.
287
7vvo&
POP
7 foT
H&&& A S/M IMIS- QNE-
iht CHAm m Ibe- sm£
AQ ikt /WOifSP -AU- OH TWOS'
A<kNtijtkv ACCmi^l
cs Fppr -UKEAN &JJZ7&C
SHOCK %‘A its AL&fiOV ON
TH0ZE a& Soup Woburn foizmupao - Eurwp can Staff g&n&Mct& /nv^ywf--
Uppo 7 'Am OHF that PA S7B
Ji&rov&z A RXT(IH Wigs)
/ 3 6"
OCWH , j
ON TwCS ’ 1
£■ 7 B 7 [o.
(j-H — f — j - ’
6 c3o up ON OHPS
//
/fppp %e FYF$
ittd MOUTH
<Utf>SEP
UNTlU'tCie
ACCPNT 1 9
N jS (717
J—-1—+-H
POWN ON TWOS
288
NOW LETS MAKE IT KINO OF A DOUBLE TAKE,
WP'tF KEEP Hit SAMP CHARTS BuT PW&tius HEAP
mm sk>p 10 s up mw it 'squashy
cm ns WAY up TO *tl.
Poplin nm>
SHAPE, 0£3
2«J mrrH
OtfAit
PCW CH TWOS
(-OtUG UP OH OHP S
>*d BACK PoWH Oi WoS
MAYBE (IS
CLZA&&Z
SHewm tr
TH-tS WAY -
*—h
5
MAKE 6
KAVOWZiKG-
F'S&KVR&AE
it
4
a
/? t$, r i<{
1
: 1
WK SHOULDN'T WORRY ABOUT piSlcKmP PRAWILOS OP
um action has tfrttly ptsiopm> tramps .
Bar we op on to nmmgnz what ike. obioihal vopvm of a chafagt&z is -
AHP NOT STRETCH C&MPRESS FORGFTVNa IRIS VOLUME — SOimiHeamCTfR
chanofs overall site,
MILT KAHL SAIF, " / h&PItte SAME AMOUNT OF MEAT IN A TAKE "
$ur WE CAN
Tush tr a pCvHP
LIKE MAP -
289
ME shouldn't BE AFRAlP OF RETORTION Hi % e INTERIOR. OF AN ACTION ■
Om PRA \\>mc OR IMAGES MAY LOOK GRANGE f AT m REALLY OHM »smy^> FcSfTicm-
WE imie PI&tORTiOM WITHIN uO>THAlt WHAT COUNTS.
THERE IS WiHD DISTORTION W E&N IN JHVF ACTION W WE CAN GO FURTHER.-—
Going, down
INTO AN
ANTICIPATION
loo ib Exmzr
THIS -
Antic.
Hh. BfUY
GOES DOWN
AG Tkt LOGS
send ~
But heir tejavTf Stomach area
fOKJURT % fRAMRA ON S FRAMES oR. 4
ctcf par
AS WE
ACC EN T UP
1t,e OeLF
Opts
POWN
hi P&AY
tr %,s cPA-
fPmeo
Hkc TToMAfU! Gcf& tom
G mas- mrofiNAi- StR-Tch
WjU COMpNESUCN .
epu-v CATWm
HP a s Hp
Wantoto
CO fWp poHN- u.
Tilt HEAD COaLDCtC UP A&Tlit TFT GO DOWN
WHICH ISAM ANTICIPATION OF AN ANTICIPATION
fZFT
CcaiS>
PPPAL '
AFTfT-Tht Head &*) Boot pane
&PJUF? ike ARMS GOURD MOVE INTc
a position to taka ike cugre
OFF Tu t- HOLD.
ANTC.
Ike.
HEAD
leaps -
all b [Rb
follows
This, is hcw Try Avery p id his iwh-p, crazy takes - extending cn a Sprits of Ccmiuno actions '
Pelayihg &m, often .just 2 frame s AtWor -a serifs cfactions Cumulative rbsutt
290
AZT BAmrr HAP A GREAT PBflCF FO<n HANDS At 7k BNP OFATaKF.-
WHICH LOTS OF AN/MATCHES UTILISED ~
A FTEZ Ikt TAKE, WHERE MBS QOMlNG RACK TO NORMAL (jF WFNAYF ike Ttm FcC If)
HAVE Tit- ALMS MAKE AN ELABORATE Fu tR&i 'ON ONER. - VERY FAST
itizAms EACH
SWING APOUNO
in a Circle
COtiN TFPJMCt
EACH OTHER •
THEY can MAKE
A FiQiA&p 8
4S LONG AS. they
(COUNTER
EACH OTHER-
Tho Left Am dors Tie Same as Thu fight - Bar starts lateR &J counters it
Another little refinement- - Ike arm could kefP knocking m hat off aj on again^
KIN O OF
CHaPLiN ESQiiFtf.
WED NEED
A MINIMUM
OF 12 - FRAMES
FoRTHtS STUFF -
OTHER-ARM
Corns. UP
7(4 KNOCKS
TktHATTbe
Other, way
— Or puts i t
BACK ON.
His feet could
fepAe in ike Air-
“ FNPLESS VARIATIONS
291
its a corn mm io took rot an gmA x smt<wm'' l( .
ik sAi a man sees something ourm&EOus mJ veux whAMAAat i H
jy® wm pc I5e job ok - Sunmvs icon fat auothfr kk&kgown - mortmpi
POKiVON "WAT Wll SrR0N£W&N ff&J OiVE US MORB "CHANGE -MORE VTTAUVf-
So m icok tor. what&ms can <gne us more change of shaft wfhih ike action*
lArk Fur IN ANOTHER. ONE * HAVE HIM ROOK UP BEFORE ike, 'POWN ANTIC! PATTON ■
AmN, WF AHFapMB Jku ANTICIPATION*'
wfpt m panels. of otmmmmc - of <sm>m~%e my here - Bur its
APWAfS WORTH 5S3/V6 ip Tt-irfifS ANOTHER MOM INTACT poSrr/QN fOS&IRlB Tq
emm mppa catmst- Mem change within, (main, th#&a
292
HAVING TOO MUCH ANTICIPATION CAN SB COMVSOMETIME jJ CW-Y TAKES UNNFCb&ARY
Jmrro contbadct aim mis wlp, up down W abound action, oneOF ittSWNG w
takk I've ever seen was in a film wm basil rathsohf as ife vilanM,
hA SMACK iNi&z-MlPPUB OFiic CINEMASCOPE S CJR&N BEING < 3 iV£jV iNFomtVCYt
BY AN AIDE WHICH a HOCKS H/M.
'[I-iBBEa TOTS OF ACTION behind HIM W Ammo HIM WHICH COULD PFFlFX €0R ATTENTION,
yer his, 7 ahe jumps right out at you, ha happly moves any piStmos at ala, yet
You ReAUY sab itI THERMS NO ANTICIPATION PCWN ^ NO STRETCHED ACCENT PART
Ofihf reason wbSfb it is mcAusp his Heap /<s fpojen in ih. muddle of lUv screen -
(Viz 'SACeeO' cWTRAL oval) his head a short SHARP move up then cushons sack a m
Tie. U&A£> GCA S UP TO*A ftSfc/WCfivr) iii£rfy,i&.
-Turn cushion sackto^ii wa ww Hold,
tub tak^th#!, /s 3 fm 0 tom went a
Cushion pack. v _ J
(7)z s
lL
ihz SfAHm IS
CUSHION SACHET
So, IF WB &FFINF A TAKE AS A STRONG AAe>V&miT TO SHOW SURPRISE OK REACTION,
rfs succeeded without au- cup animation devices, rgn&jfz useful they areto us,
LIFE DO&tfr FOLLOW OUR. CONVENIENT ANIMATION FORMULAS- (jmCrUDV ANY LIVE ACTION)
(Setting accents right was ike-wm that am mf^ most - trouble in animating.
I really hap to work at it-if it was a soft accent wfh a head op a body-op
A SHARP, HARP
%i f
ACCENT OF A HAND
OR FINGER.
- fUiS HOW LONG
TO HOLD A
HAND Ol/TTHmE
to reap?
* I S£C,
TRV To POIHT A 77/WSS m A Sbcond* 4 accents,
ifs ppgny HARD To Do. 4 STATIC HOLD* OF
G FUMES BACH -AND HOW PO YOU OPT FEOfA
CNF tv ikt cmmP anyway, fvB Found that
Y ou wm> ATwfi&r ofomfr id &ad ahyaglet.
FEX AVERY SAYS ns 5 FRAMES.. YOU
NEED a MINIMUM OF 5 frames To mD
A hold. ten's, stuff went so fast
THAT 16UESS it WORKS AS ENOUGH OF
A PAUSE IN The COMTEK T OF AILTHAT£PEg>
293
Finals y i caught oh- as usual, Ik*. Szem' /s kind of s/mplb! nv just
GcFTOHO The PlfrFmCF BFTW&&4 A HAW ACCENT A SOFT ACCENT:
T&y uti fbiHt way mo
yout fihg0z> m% to
Bounce SACK, OF-go up
ae com oit&fw&A sit
if won't stay static.
£
Mp A
SOFT
ACCENT HBBT'S OH GO Hi
G.
IF m PblHT
G&wi life hand
wiu- casern as
If SLOWS To A St>R
wm a hard accent -
IF m FIT AT MV IB WITH A SP&L HAMM&Z, ife- AMY (l IS OBVIOUSP/ MOT AFFEO jgp
m Hit TAMMm W when ha/mep comes -pom it bounces back .
-mis BouTqs. SACK
i^%eAomr.
The SouNP a U&Kz*
/ mm Afmz fautyr
IS WHbRFWFG srfte-SoOHC
SMFimuA HamaipR
catmtf
fop- i Fsme
htA it MMmiuy,- . _ tn , ,, \
BotiticA* BACK SU>NS INTO AfDM>)
mfflkG A NAIL - He ACCENT /S NOT WtitN %t HAMM&t Comas in, NAIL.
H or Bjm rws ewe.
Again,T kt Bound is on
TU^ &OU.NC& back
- onw Fmm aftwz
Tkt CONTACT.
ITS. -mis' ONE.
A SOFT ACCENT WILT KEEP ON GOINS
Think of ah emmm
CONDUCTOR CoNMOnNSr
WALTZ TEMPO-
W€ FBBL Tho ACC0N T
A.mjrtfgm
zJiurnp
ON
mr
Accm:
294
<30/M3 OUT
F£lT
AC££NT
A ha(U> Acamr bouKcfc back
--y-—. -
A M/W POiMTittGr
H£ FIHG-EK.
mPHATiCAuy-
gouttaifc am
4 --
(j awou&k eomiMm a pa&> acxou stops A^m'-cR as A££yp£y as /tcan, )
ON&<~>
THINK OF
mr
A tear
A WAjLTz-
WfZF&gL
ike^Acomr
OH$&
1 J
t i 1
,4 SOFTACCmr OQMTIMU0S
i & ! l L - Jf mpy^ri | «
CxO(i{& OuT
- p.
fm
ACC&$
W stru- -spem mo oa&Aozmr Barite, movem&it continues .
295
a ume ewr f Amd cmppiue ouj, mie Bou^ef back m a meo agcbht.
b 57 ?
S Pm>iM&
Our imoitc s
' mr' Accmr w t
~tm &OMQ& SAW
i 3 £“79
W m K peu> ^
7A^ 3omcm ^Hoorm - mpu&eiu ova mic impact
/; f -
04
res
0
l_
3
7)91 5
-l
WO&gri%e S0lAU£> OF ike SHOTAS ike, GDI POPS BACK
WITHOUT AMY IMSPTAlppYiP BaSTH0H OpOW§ PACpLTO UQfcMAD
3
Bounces back to
oRi&mu Posmou
IMPACT
SACK
A Soft acxmt
* lb Be HAPPY To*
A HAPX>AGcmT
w
WHY
TMPY
'/
COMO ££ SfcFT
HA&O* ^
■ pi -mem oune
//
i
17
cs
tsS 7 <f it |3 /5 ! 7 /? 2-1j» 2£
m
i.i.
1 {
^ 1
1
f ■ i , n
; i
iPetT
ACO0K
i 0 7
19 17 if /s
I H ‘ ' } —
Bounce sax
4 -
4mr
1
'$UT USUALLY/ HEAP
Acmn m up
££e K t>iAio&J£ f ,
296
TIMING, STAGGERS, WAVE AND WHIP
WE HAVE ART THAT Cm FLAV MOST PiW WITH TIME.
we don't pave -to NomAL time. WE can either go too fa&t-tg get spast/c
HUMOUR, ^ FRAkrtQ ACTIVITY- OR. go too S LOW dvJ get SmJTi ^ dignity.
Years ago a scientist friend of mine showed me film he made abound T$e.
WORLD OF men m? ANIMALS - A/O/VE OF If CLOT AT NORMAL SPEED. IT WAS ALL
INTENTION Ally FILMED Too PAST of 750 S LOW, PE HAP ELEPHANTS RUNNING
LIKE MICE vG VICE VERSA, PEOPLE IN RELIGIOUS, RITUALS RACING AROUND AS IF
flawing tab, people kissing in slow motion, etc. after an hour of this
YOUR MIN P TURNED INSIDE OUT — GIVING A KIND OF GrO&S EVE VIEW OF LIFE
'MJ action.
there was a shot of a tramp on a park bench putting a matchstich in hs bap
IT WAS FILMED SLIGHTLY IN CLOW MOTION, 30 OR 32 FRAMES A SECOND. AS HE
FIDDLED With 1ft«- MArCHCTICK You CAW LITTLE RtPFLlNG MUSCLES OF PLEASURE
spread across hid face which You would Never, off at normal qpeed.
TH'RAHGP, Bur COMPULSIVE 'VIEWING.
StHCE THEN I'VE ALWAYS TRIED To AVOID NORMAL TIMING, / ALWAYS TEN TO GO
JUST A LITTLE TOO FAST W THEN SWITCH To GoNGJUST A LITTLE Too SLOW—
COMBINE IT. GO FOP ike CHANGE, Tk& CONTRAST. 7 fa. SLOW AGAINST ikt. FAST
KEEP SWITCHING BACH wJ FORTH. tl£ HARD To DETECT Burm@£ CCMfULSlVF VIEWING.
IIIIMI IIIUIS h ■€■■
!■ u.'l> tTJ J Ai i n-rti J.
QTAGGGZ VM/NGC
j
mmm t^-oiwhi
THERE ARE several WAYS To STAGGER DRAWINGS EACH W FORTH To CAUSE THINGS
TO SHAKE OR VIBRATE, TO MAKE HANDS TRFDMSlE OP HELP wrtH LAUGHING 0%CRYING.
WE MAKE A SERIES OF DRAWINGS OF NORMAL ACTION »W INTERLEAVE THEAA
BACH W FORTH IN DIFFERENT WAYS To MAKE THEM SHUDDER W SHAKE,
297
TRp Simplest Tom of stagger, vtmmoH /s this -
5Ay we want
A FEAfONATREE
TO FLUTTER,
IN Ike WIND, „
W ARE ike 2- EXTREME aW WE CfuST MAKE 7 EQUAL IN 8EfWm/S
+
h
THEN WHEN W£ &(fOSB
tr ON OUR. X- SHEET.
MSrmp OFiht USUAL'
3.
9
MP WE'RE NOT LIMITED
TO JUST THAT, FOE VARtRV
Hold so/mp for -z or ,2
FEMES fad OTHERS foRONE.
Jit AH ERRATIC EXPOSURE'
IT PEFENC& HOW vtcmr
WE WANT IT TO Be.
/
4~
- WE SKIP ONE fad (50
FORWARD fad THEN
Com lSACK dc<-
±-
OR SKIP
A POUND
FOR Arnes
Violent
effect
Jk.
v/$m ions Also
WORK WELD
ON TWO$L :
7
&
JS.
z
9
4~
T 8
/
±
*t
B
r
ANY COMBINATION CAN WORK
THIS. IS iUcPmOPLE
OF 8TAQGERED BXfOSURR
—.„ _
«amvG%mK
8
ANOWR WAY'
TAKE A PI VINO BOARD VIBRATING AFTER, Ike DIVERS DEFT IT —
WE MAKE # / P W 17
ilk SURPRISING HOW M HCH You
CAN Repeat EACH ENP i #1 To #!7 etc.
am> when ir slows to a Stop
;
n
2-
3
fS
4-
14-
■~s
N * P
IS
c
12 ,
7
//
e
to
9
e/c..
op COtf^SP WjFCAtf AWKS
MOEg FLEXIBLE PACING
POSITIONS WITHIN Tk&
EXTREMES
mrir
WILE WORK WEAL-
\ EITHER. WAY
T JESE ARE Ike V/RRATiOXS MOST
ANIMATORS USE" FOR PACK OF -
A NAME I CALF IT Tied UP ^ DOWN '
OR y BA(JK fad FORTH f VIBRATION,
298
Tm CAN BE USED for. LAUGHTER OR- CRYING: OR SHIVERING WITH COLD:
NT (ETC A YA&ET V OF SPAONt S M'&lA&ON.
GHE ONLY PROBLEM VI OH IMS W IS. THAT IT tf&tS TO SB A BIT MECHANICAL -
We cqulp break it up by doing more iNiERE&nHe parsing Fc&moNS with in it.
£>trr ifo Really great method is ■%*, one developed my ncrman fergusoh at fr&NRYs.
Km HARRIS BHOmO tr TO MB HEN GOT IT .FROM SHAMU& GULHAHE WHO GcT)T FROM
Ferguson, for pack of a name, /k cupnie it
. m 1 1 1 1 H il - 1 — ■ — ■ ■ —■mJPHHP-— h i I M X. < 5 ^ — -**" «« '—■“ i
Citie &H>£ TO SIPE VIBRAVOH FORMULA
_ ft i ■■■ ■■ ■ i il' V. r .kj. ‘^t » ■•■ -™* • ■■ ■■«k • ■ m ~ l —i .W i —m——m ■ "wwwwwr^ — — " "
SAi WE WANTED To HAVE
A HEAP WOBBLE FROM
Site to Side-
WE MAKE A SERIES
OF PRAWiMGD FROM
I b s^y, 3B -
AND INF GET
A SIDET) SIDE
WOBBLE BY
HAVING 2- STRIPS
of Action.
2- PATTERNS
OF ACTION
INTEFLEAYED^
17
I 7 A
HEN
WE
iHrmrm
THE/
THEN WE MAKE A CARTFUL
TRACING CF#t ;W ^33
JftSr SlNGHTLY OFFSET-
WO WE MAKE A NEW &E&&
OF P£AW/MSS &/ATO 33 A
Going up Th-t-OVHER side.
I
I A
7~A
3A
4
4 -A
n-«_
A
ca
~7
7 A
8
8A
eTo.
INTERLEAVING TWO CERI& OFpmilNGS
GIVES US ALE K/NbS OF POSSIBILITIES
FOB VIBfCATlMG ACTION.
299
HAMC& Wffl
ih~pmy~
Km HAZ&I8 AMWArm A&cm& WH&KzTl ie CHABACW& MO AH * mRMQlMT" WBMIOH
(^OiHQ UP Hi% mm fiSOM f |S TCfc$\ TO t-$S£* f j iW f//S m asm im sysrm
IT WO&8 LIKE THIS-
I To °t
[warns \
meg# |
\ONiW0S}
om y
£4/
-^4 AS 11 Y£J
W WOW
or w eA3£,
vmmrtHQ
AS IT
QOBS ttP^
(mo OF COURSE WB CAN SB MORE }NVmiN@ WUH OVg, TAS&/N® POSITIONS »d BB&KfcMB within ■k.ACnOH
SO, BASICALLY ifksTV&T Tvto SB&gS 0BP&WIM5& OONB CffAW&pf Wfiti
BACH OWBK - GMHG m>P*SS fO$&f8n-tTtsS OB WOSB&S, JUDl>m / QCHVBfK **5 WATTS.
300
qurrE
A m*
FRAME
W02
HMI& pftvgs WHtP rUPWAtP
snap om r&ft ov* fjwce
PMCe tU £&mV» o/VgfiQwe
Apreft iht s/wfi
JRElAXgS “OH
p£AM£ AFT&-&&&#£'
wmACvoH
Smb Km of thing /$ ike whip &ur wnnoor ike snap AomiT.
Km HA&i(Z US©‘7MB mmPLB'
A AtA/Y <S tV/A/SS /VcS £W A "
AL-THOC&ti
iff pm-trY
-fie, ROf^ IM5W«>
££fU4#> 30<WT
0F1k<L!AM-
Atfi> o?Ca>jflS£:
/rip cuZmqm
ATEAQi EWO-
OuA COMING B^CK-
301
HELPING WS OUT ON H )-?. LABT ?- MONTHS OF U CAECfc^ A/?p NTToN ANIMATED A WGNPBPFuL
Ltm& pA.uGH rn TtNYTtM, At PiNN&P am ^acI I WEpB VmOL-WMG ike wm fvd ! rattled
ON ABOUT HIS WORK-udii^mT UUGH HE'D Jl&T DONE. ABF§Ait> "WELL,!M AKFuUN OAD ^
THAT V EARS AGO KFN HARRIS SHOWED MB 7T/AT WHIP PRINCIPLE AO A PATTERN AAA LAUGH.
il WHAT? -SHOWME t SHOWN\e!"WE STUMBLED &K-K lb Tic. STUDIO AW A&E OCRBBLFD SOMETHING
( . O
WATS WHAT YOU DID ON TltW AIM ?
YEAH, YOU KNOW f %* WHIP ACTION - PIKE 1H&.Z
APRS LAUGH (S ON "The NEXT PAGO W IM /ACLWIMS A TO BHCWJISrHOW SUBTLY
THOSE BASIC THINGS CAN SH USED. The. SHOULDER GO UP zW POWH WITH IN ike
LAUGH ow YOU CAN JUM ABOUT CEE ike. WHIP PATTERN HNLERLYlMW ikt ACTION,
302
DIALOGUE
IMAGINE A HANPSOME MAN TALKING To A BEAUVEJU WOMAN wj THE (2 WHAT HE &4V$:
IT LOOKS. HIKE he’s SAy!NG*l love YOU " POTS NT it?
NTS MOT. Hzk SAYING," ELEPHANT JUICE?
(jWf // Y&NlOLP DAU&HTTR. BROUGHT IMS HOME FTOM & ChOOF.)
TRY IT, !T ILLUSfJZATgi Tie- JOINT TH/T WE VoHtHAVT STANPATLETP MOUTH SHAPES
TOT EVERY CONSONANT W VOWEL, WEfeALLPlfFfRm: OuTMOUTHS AfeALL t>!Jf^0T
we a&fs-mm vimemny. Th&& no s er wayto fcw mivime
vowB£-~He *aae ,jmCAmix /toss his mouth Pimfcm w/ thm ite&iGusu QimN.
Of COURSE ALL ColZ NOtfiHS OPEN FOR %& VOWFJS A t B f l t 0( U -C A Y > ^ £/£, ON ( TOO. ^
ANP THEY CLOSE FORlhe. CONSONANTS ? t F, T, V. (SEE, FF, Tff mH VET ■)
ANP TveTONGUT (£■ UR BTHINL "$eT^7f/ FoZ A i f t>, L f TH T(rmtm mtxMApm&'&TF-
Ear 4 lot of ito Positions in real lift are am bivalent ^ inpivioual >
304
HOW NOT TO DO LIP SV/VC-
f HAD AN ENTHUSIASTIC fat GRADE TEAQHEp WITH A WIDE MOUTH
FULL OF VERY LARGE TeEtH CeTOFF BY BRIGHT PHD LtFSXlCK-
Evepy morning she had us au- stand up W very slowly
HE - NUNN- SEE - AN TEH ;
X MOO \/AH BULL HlPSSSSSS,
MOO VAH BULL HlPSSSSSS,
ARP THVH VEH FEE SEHSSST HIPS SS
TOO TANK ANNNP ZSSING WiTHTHTH."
Followed £y-
vV OOOOP MOHRfLNN I NO Too TqOO,
gooop moh penning Too M boo-
\AJ0EE OHL INN OWFR ?HMYSETZ.
WITH SSUNNSHEVENEE FAYSGE ZZ.
OHHH, TVtSSS I ZZ THUH WAYEE
TOO StAHRRT AHH NEEYOO PAYEE,''
SOMETIMES SHEO HAVE US SIT W SAY V - (Pun) FOP A MINUTE
auu i kind of enjoyed heaping %little explosions of a/p.
People pont talk hike this !
WE SMUDGE from ONE WORD SHAPE Folk*.OTHER.
~Vtt, animators caleap it
PHRASING
HIKE IN MUSIC - YOU SMUDGE OVER, A FAST COMPLEX PASSAGE HITTING J1&T 1h MAIN
THINGS — YOU PONT HAVE TO MACHINE GUN EVER/ NOTE EQUALLY-YOU SLUE OVER IT
WHEY WE SPEAK I WE PONT APR TICK YOO HATEH EVERY LITTHE SIH AH (BULL
FT letter top, Some People hardly move their ups when they talk .:
The, THING IB TO THINK OF ike, WORDS, WORD SHAPES W PHPASES -NOTOF LETTERS.
OUZ MOUTHS ARE ALL DIFFERENT.
MOST PEOPLE HAVE ElTHEPilit TOP /g3 BOTTOM TEETH ARE
teeth visible most of tu time- k <PT featurep most of-retime.
305
T'UMGSr fUN 1 \m H 4P WITH UP sy No SO FA/2 H/AJ W/TF VINCENT P&C&? VOICE-
BECAUSE HE HN> SUCH A MOBILE PACE, MOUTH , SAINS W throat,
fsm 7flt ■$/DF HE LOOKED AS YOfJb EXPECT, BUT WHEN HE TURNED TOTk& FRONT HB UDKeD LIKE A F/SH,
/T
EICHAEO
I'M A FRWjPW
MONST&? -
vy ,
r.// / 1
i i
\\
Vincents mmsr told him he
FAD A GIANT VOICE SOX- WHICH
gave HIM that awfully pick
tub Am CAL VOICE,
'N& mm that
fHS FACE WAS SO ELASTIC THAT
me /i second cemo'ike-top
-^mv. WOULD FEATURE,
W
*/
3f
J 1
t 1
,THHt
BOTH
\v s
at once.
ALLIN ewe
S£/vre/vce,
AFf because he spread OUT HIS DIALOGUE
YOU HAD lire Ft ME TO AFTfCWATE ALETL-t POPS, CRACKLES, SLOW VOWELS frd CONSOYAN 78-
EElNF BACK IN GRADE Six'?) You COULD OVElSMimrt /r>J IT STILL LOOKED NATURAL
Macro/ wf have to hole Down our, mouth action , unless wb'ee shouting ok Singing.
Tab important consonants ape TRe closed mouth ones-
IM OKUEK To READ THEBE POSITIONS WE NEED AT LEAS TWO FRAM £S . ONE ISMT ENOUGH,
(if we don’t make these positions Tut vowel that follows will Be Vit/ateo .)
306
rot GOOD CRISP DIALOGUE WE SHOULD POP INTO OUR- VOW BOR - (NO INDEW.EENTj
’ponY cushion into m Cushion back a prut ike accent fur it big, im <S often it
urrfk* ui aloooe accent- U< *£ jA^ng Y
TAKE ibt WOKE V '#AVS &QUI? WITH WO VOWELS - HfTlk& F/DSt VOWEL HARDEE THAN ihWl
AC aim, IF 'SOMEONE SAYS A BROAD VOWEL LIKE NgY 1 ,"OF WQWl -
POH'r EASE INTO Te, VOWED FROM Tie." W" WITH SEVERAL DKAW/N6C.
=: VERY MUMMY wo SOFT
(oFmrnw Among, amsivXAiorT
"he/shEs ok, JtuTifSAlL I
V A Bit sort. T /
Pose Yc middle positions, smack right into it -mG get much more vitality.
coMfsaess
nC cont Fogaer
To DISTEND Te.
FACE - STEEfCN IT.
A PREVALENT FAULT IN DIALOGUE IS THAT 1H ROfim OF ike. FACE POESNT SrmW aJ COAPKES NOm,
WHICH MAKES OWL ANIMATION STIFF W STILTED.
307
m) To tfP&YklC ISG&rrm %e FEELING OF tfe WORD tod HOT ike INDIVIDUAL LEftE®,
~%t IXA IS NOT To gploO ACTIVE - GETlht SHAPE OF Ait WO£J) A1AKW $0^ &£F /7T
SEJ^er WtfAlfe IMPOitTAlif tod AVOID FLAPPIHF 1% MOtflfr A// iMATlpO EVERY lM& TPlPG,
Actors fitting dialogue over Fc&m films hit ohm Ik accepts W gu %$ a^Ne.M\itmuim
they match it «. first vowbl- Arifo&mproFife smrmcE ha iht- last AocwrcFii^ sentence-
bd whats ip Setweep will WORK (oetenl to worn)
TmK OF IT TH IS WAy :
AKF Hie WORD ^FoZvaUE-
f
VoNT DO THIS -
DO THIS'
just use a PosmHD
Go ft®m ope
To %£ other. -
! \\ ^ if
DSTQ TAPE HFUO -
&4M£ iWHG '
IHSVWN
i
PONT OPEN IT TWICE,
■■:
SOIL it DOm So Ilk SIMPLE.
0 = DO Hr OPEN it TWO
Go s-mimr from
ONE To Tke. OTblER. -
//£r *■
we canV m literal ip. reading ae <SCiW£> track,
l %EMORY" /s /vcr a cm/s - /ri cw£
it a not-
DPbN OfeH
M eta OP REE
UNI #ss THLI'RE S/HBItlG
$ MEM - OH " REES f
irk ''(A ETA. - RE E *
f
OP&m
0 \
a \
WEVCNT
V
\
mt -■- ■
\
ANIMATE
sr'"' u
■- i M
.F
ylj
*5 ££g
every
J
/
S TN&LE
A
(NrHlS CASE
VOWED.
308
'KsMfiwBeR ikt- upper, TmH are ahchotjo Tc> tk& Skuu W Co motAHiMATF zWl'm
'COWER, JAW& ACTION iS ,VCSTP/ -WITH Tut UPQ W ToNGOC TORMlUJ Tk& SOUXiS,
■
HE& T'BFTMSFNibz'fOhiGUF IN RPEfCU, Oa&TotiWES WORK RO FAST, THAT its
JUST UP Ok JUST DOWH^ NBVeR SCBH W PDVTF (pFcrnm tr P/wses.)
UA/CP !
loir th&&?a mm& -
“fte ToHGQe wemt
NOTH/HE-^
YertOFpwoF as
Ow hou> if - f
l. £ mc*/
■TO/V&t# yp C# DCW/Y OHIUN&T FBAm
"fh e TONOOB l& ttCOKZP OH ikt* SACK oMk& LOWER JAW W /§ ADC F/OAT/M& AROUilC IN UMBO
OR STUCK IN ike THROAT MSO THZjAyK W APBVr^gRER, CCW£/<SWT AS^tfT 7^7W.
t
___ scm a wmjY funny mrr smc tone these ms where this/just say,
vV HELC y ITS A CARTOON - Cpfc HAVE IT BE A CARTOON ? AMPJHBY TF&J Tkt TEEM AS RuBBm
3^ TOP flSCM
7W& 0 v
7£> * T£> r\
rp/s ° wis y
v —J
j
j ITS VAUC \
/ lad OPT6A/
I IHLARiOUS-
m a IQT WHAT
\ wCreoh ABOUT
\ H0T-
)
AkOfFER RULE; WE SAIL m KEEP AT LEAST J FRAM{£ TO REAL IMPORTANT CONSONANTS
um M f B, P F, V OPT(opSth') If WSmiT, fkt VIEWER WONf SEE IT,
it m -tit zoom
REARING WSQtip/
HAVE ONE FRAME
m PICATBP FC&
AH ] M /y SOUHp -
- rrs mot morn.
PQ WE ST&P
IT FROM the
precetcmg
S>0(jNt> ,
jive tr moth&& r-
EXTRA FRAME
IN PRON TOF if
TO R&SISTEE'
- m/FR AFTfiR—
1 1 P-‘
... because
weneep
To Hlfitt'o
INCOMING
A y u VOWEL
one NOSR,
309
ft*
‘C
PICTURE? W SOOAp OY/YO
i *—- ir m*m* wm
THIS BRINGS US 70 TUo THoRMY PROBLEM OF' Vo WEANIMATE LEVELSVMC OP AMM/mik&
Pimm om mm Amo 0FTt<c sound Mcmwrm o&iwo fram& ahead of tut. com, ce what?
ANSWER.* WORK LEVEL-
(m) \ F WePf OH TWOS -
- W it work S oiT7Wrvwy-
GflF F8W(£ AHEAD.
’.GZ
*rs<5&&
L L
&
.-fa*»" .
£«**■ p**'
3
1
*h
/ j
6
1 Am
6
fV\
7
X 1
g
y
...9 "
to
/
>■■* ■•» jr. I * ■ jif
L(V L-a=k*
Lyi*" irfM
3
/
/
5
A A
/ V\
7
\ A ' |
y
9
/
A^PYroWCtW ]>&AWlhlG& % 3 m 27
RIGHT OH Ike, l M' SOUND.
fUram'-M' praw/hg
om FRAME AHEAD CFlkWM' SOUND
f uid V 'pruning / mm \
[ a heap of lift y f sound ekj
THERE pa C&JPE POPE OF THUMP THAT IT POORS BETTER WtWTtes PICTURE LEADING Tie, SOUND
sy z frames, because of this, a disease sprang- up where some edhdfs setup
-fat TYRANNY THAT ANIMATORS MUST ANIMATE EVERYTHING 2 FRAMES AHEAD OFikuSOUND
50 THEY COULD JEST PlOF IN Jit,RESULTGo ROME-
W PONG. THERE ISNTJUST ONE RULE. SOMETIMES FEVER SYNC WOPR& B>EST- SOMETIMES ITS
better with ih picture one frame advanced, often iris better z frames aheap (hence
Ik t DISEA&e) ^ &OMEVMES ffS BETTER WlftHke PI&V& EVEN S FRAMES AHEAD OF %<l SOUND
If You always answer,
*llk 2 FEMES AHEAD*
You get a crazy chwhon
where youre thinking sideways
udncdusion-
4—' PAAWHG
4t~ wwge'W'wMiVG-
^ W pmtm
^W'p/ZAwm
aQ (U- ToTTC*
WHY?
There is cnePealsyNc ^thatis level. Right cxife ,mcdulatkn is iqo% ferttct, logically.
irjMSf DEPENDS WHAT LOOTS BEST WHEN WE Play WITH IT. SO WE&tfVSE RIGHT ON IZklNOSS-
OR ONE FRAME AHEAD - IF ITS CONVENIENT— NEVER LATE,
THEN WE CAU RON OUF >ESTS AT LEV#, SYNC, TNEN ADVANCE Th% POVRE CHE OR TwO ORTH REE
FRAMES — DEPENDING ON WHAT Loot®. RIGHT TO US. WE LEARN THINGS THIS WAY.
IT ALL DEPENDS ON The, CHARACTER W TV PE OF VOICE W NOW WE 1 YE DONE ikt*Jb8.
310
Q Act&m)
-lift OLP MASTHE& PUT SHARP PHYSICAL ACTIONS. W HEAP MO/ES 3 0 *i 4 F&M&S AHEAD
OF Ike POPULATION — THEN PET ike MOUTH ACTION ON Th&NOSE - (w A mtm ersmm)
IF-ON
ONES-
(
>■ \
\:..,r^ W:
2>
"i.
Ma&ACCCr/T X
4
ATmmAHEAP
s
6
sc mJN£> AOcwr x
\ .. j
.7
LZ...1 .
1 Stu
4
/o
//
IFON
TWOS-
- A
j /
l jP P JA O]
HEAP 43C6W X
.rf 1 " v' j-'
jiT
'' "3.
4 «SAKK MSAi>
A/
.1.
/ y
SCWND ACCSMT X
-
7
T)
V. jTUj
H9
Vy .
If
THEY GeruP TffeEE (orpohhtm*) fofcifo/gc&rr 3 ae 4 &.£L/~thsN H«l im/W op0s.cn Pl SnuN£>.
s-
put&mplv - /
Accevr fcpoPw
X ON MOPMATOH
TTs, D&tCEGtv&
A E&MtFUL
Result.
Mimmr&z,
rm Htrrnts fjf
AU- ATOfC$
MOST OF ikeTIME Ifa, HEAP ACCENT /S UP.
0 ANTICIPATE POWN
(g> THEN Tffro ACCENT UP
(J> THEN LIPS ON ike- VOWEL £ lt& W&AMXY A VOWEL 7 WT We'«? HlrffNGJ
We CAN PO IT IN Bur MOSTLY ITS StPONOER GOING UP(PUT Pom /S F(KE, loo.)
Anyway, there & always an accent—unless nh an utter# Boring person cpmm.
TAKF; u W£LL; AT LAST YfflkB HO/ASl **3 Accews
if 7T
vows- vows. yews.
hit only Tu.t voweis which are iMt&mtn Gloss oYEdifo owed s,
we hit certain accents when speaking We Slur, ovh? 7a* pgr.
@> *W£LL t AT LAST, youfee HOME! *
T
gfG-ACmif
® v weUy at ,usr 'Yourn hqmb!*
swu Te<$
Ace&rr Mimr
Just Fir ike. main accents , select whai& important- wHeinte its a soft or HARP A scent.
Hm AQCENT: fijQl Go POWN (pEUif) W YOU BOUNCE SACK.
Soft Accent-. ^f^OO00&L, &D POWN (orup) W CONTINUE.
311
AN EXAMPLE of BODY action PP&POM INATfMB:
Tfipk SAYING * ILL SUP INTO SqMThINS COOLER."
ACC0T
SrE dcss it with m~&HouLP&Z‘
rk UP AS &H& TURNS TOWAPP ttS f ANTICIPATES down
3 ') G0& UP FAST mtr%<L MAIN ACE^Wf OH COOUTi.
ALSO AT ITxSAMTTmT HEP- HEAP ACCENTgoes VaM
OH fhttd- THE ONLYmm ACCENT ALSO OHTA'oqt
i HOULbTpL up, HEAD lOWN, MOUTH EXA&G&WEb —
ALU To HIT Ikn ONLY ACCENT IN Ike TzNTmcT,
~tt Am1kimumpm&‘ k&fXD (|j) vm-Vit^mY-
T- S CCRRS FINE, BUT WOULD LAVE SEEN £VEV SETTER IETcMEAD DtJ
-C...UER ACCENT fiAL COME3atAffN\£§ M&P of'TtodTomLATON,
ACTION
DIAL
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312
313
r
ATTITUDE
MAKE POINT OF Li* & SHop clear Wim BODY ACTION first, JhcSOP Y ATTimbB S HouLO
FCHO TV FACIAL ATTITUDE. lit ALL ONE. Pie, EXPRESSION Or The, BODY tot) FACE /S
MORE IMPORTANT WAN Thz MOVEMENT
IF WE GET ike. BODY %) HEAP IN pie, RIGHT ATTITUDE WE CAM ALMOST GO WtTbOCTJh& MO/IHS,
TH mouth ACTION can Go ON VST - THE/ CAN BE Khz PACT THlNGTo WORK ON,
Ken HARRIS CAP HE LEADED Tfe MOTT ABOUT UP CINC WHEN HE HAD To AM AWE A MADE AN CHARACTER
WHO HAP NO MOUTH. TlUS MEANT HE HAP TO GET The HEAD ACCENTS RmT To MAKE IT CON VIM CIN0.
In pUNNiNe WE SHOULD MAKE SURE WE VCNT HAVE TOO MUCH GOING ON . HOW MANY RX^ fDR
THIS SENTENCE- ftPTW^ THOUGHT ? Act (TOUT BOip If DOWN SO /70 SI0LE^ K&T> itQmKE.
We Cam only Put over one thing at atime. Justas we cmonly say one wctd at a TiME j we
CAN ONLY PROJECT ONE GESTURE AT A TIKE. The WHOLE RXE SHOULD KM TCMRD THAT ONE THING.
ONE EVENING INitte- EARLY 70S / IMS TALKING ToMILTKAHL ABOUT TUc SUPERB MOUTH'
SHAPES HE ALWAYS GOT IN HlS ANIMATION. HE RAID/" WATCH SINGERS TOR MOUTH SHAPES "
i Asked, 1 )g there any tamp secret to pi p Sync ? 7/
He pit up. u You want-Pz secret? iUtelpyoh The. secre t! You Know that Jim Henson
WITH H<0 FROG MUPPET? WEIL,HES A GENIUS 1 . HE UNDERSTANDS SOMETHING THAT PUPPEfFEPS
H ever pit> Before, He Re He's just got a bock over ho hand Though HE Can Never,
WATCH 7k SOUHP EXACTLY, HE DOES A FAR BETTER JOB THAN MOST OF US ANIMATORS WITH ALL
ou.kTechnical resourced. You watch what he ! s doing! hes progressing tuc action.
I i i ■■ ■ m r rr- Y’'"r ~i11 ii 'i 1 1 r "t r ~' T~f 1 T" 1 1
nES GOING SOMEWHERE WITH THAT FROG WHEN HE'S TALKING.
.■^■***i*M Bill_H_ n *
V / LEARNED 1 HlS BACK Ctf'somCFiUeSQm ' WHEN I HADJI ie FOX SAYING TO Th TABS IT /
" ’ A1 GOING TA ROAST YUH, ETC, FTC. I HARDLY MOVED the, MOUTH AT ALL, HE TO Sp&KlNQ
THROUGH HIS TEETH WHEN HE PUSHED FORWAPP TOWARDS iftt PABBlT. HE fROGmEEP Jo WAHLS
Tie BABBIT! I PROGRESSpp If AS HE SPOKE a*) THAYsUc SECRET GO SOMEWHERE,
anywhere, as Yen speak ."
WHEN l GOT SICK TO ENGLAND I KJJSPD in To KEN HARRIS JUMPED UP ^ DOWN,
vV IVE GOT 1Tie, SECRET 1 . TV SECRET OF LIPS YNC! MI IT KAHP TOLD ME Tie. SECRET l 9
Pen looked up QuizzicaicY'
" fu,e secret! " / Burbled / Vl the secret /s io progress ihc Action as you cpm-i /x
Kens ever rolled he Am ward. u what do you think i ve been trying to telpya ? 7/
WELL, The, PENNY PROPPED CfwauY) AMD l NEVER, LOOKED BACK. THATS IT.
314
ACTING
IN itue, IPPok COME&DPV ATKeP LOUIS ARMTROM&, V&T /$* $WMS?" LOUIS jWSWs^)..
%M, ff YOU HAVE TO ASK, You'Ll- NEVER KNOW. "
Bur we all mow about acting! We vo it alp mf- weke acting viffbpfnt parts
A ruikt time. There ace several of us in Herb,
PO You ACf The <TAM£ WAV WITH YOUR, Wife/HU& gANbf, LOVER AS WHEN A TRAFFIC Cop
PULLS YOU OVFR? Oft WTHT&. SANK MANAG&tP ok WITH YCUIZ CHILDREN? WITH
YouCBORR ? WITH Co-WORKERS ? FRIEND? WITH YoUR SUBORDINATES ? /OUR ENeMiB S?
WERE ACTING ROLES ALL 1Ue,VMB, DEPENDANT ON tfe£nWKW We'rb IN &*) WbKNOHIT-
WR TROT OUT H\e PERSONALITY APPROPRIATE To WHAT'S REQUIRED IN OUR SfTUAT&t.
Theses ■ 1 U Authoritarian
TY)& OH HD
The STUDENT
Tk% RESPONSIBLE ADULT
The LOVER
The. PR-IEND
The CLOWN
The. mpATRenc i kindly Person
The PUNTER
The POWER- CRAZY MANIAC etc.
Tk e. thing is to Bb a waPe of it *«J use it to express things-to dev flop
T he ability to PROJECT it through our drawings or invented images sy
GETTING INTO %l CHARACTER WE 'RE DEPICTING f IN It ie SITUATION THEY'RE IN,
KNOWING WHAT IT IS THEY WANT - WHY THEY t WANT If — THATS ACTING,
315
WE WANT TO PUT SOMETH iNG OVER CLEARLY THROUGH A PARTICULAR GtARA&£&~
Clear pepioioks of WHATk go mo on with Ike character,'
DO ONE THING AT A TIME s hG Be CR/Dtal CLEAR,
if i me Start \with that, then m can deepen Cue Performance as much
AT WE ARE CAPABLE OF.
Wp CERTAINLY ALL KNOW ike. BASEL EMOTIONS-
AND WE ALL KNOW ABOUT FEAR
CREEP
HUNGER
COLD
LUST
VANITY
LOVE
9«J The, need To Sleep.
Knowing there, its .just about how different people handle them.
So irk just A Question of widening our range to accommodate more
roles - which we po natuhaul/ by observation W experience -
(ANlK) HAVING 'tJ DEVELOPING ike. ABILITY To PROJECT IT INTO ike CHARACTER
- WE 1 RE WORKING ON.
MILT KAHL ALWAYS SAID,*! THINK YOU .JUST PO IT. IF YOU HAVE A PROBLEM
YOU HAVE TO PUT If OVER. GOT TO HAVE A THOROUGH UNDERSTANDING OF WHAT
you Re after . And if you know what you're after - you turtkeep after
IT TILL You GET IT "
Am , vV GIVE If A LOT OF THOUGHT HOW YOU'RE GOING TO DO Tim BEST JOB OF
putting ike performance oNiUe Screen - Putting over what you have
to put over/ /
Got to Get INSIDE ike CHARACTER, what DOES HE I SHE I IT WANT?
AND EVEN MORE INTERESTING - WHY DOES The CHARACTER WANT?
WHAT AM I DOING W VVHY AM / pOlNG IT?
TU People who really know how to act all sax " you port act,
YOU BECOME K f
Th&. movie star, Gene Hackman said something like / / work like mad
at /never bring caught acting, ,y
Good a crocs do a lot of r^eapch so ike. Reality They're Depicting
becomes their reality.
316
~Jl}& fine Charactetl actor f Ned BEATTY said. ' \20Vi£; ACrOt ss HYPNCTl^E
THEMSELVES INTO BECOMING1U PART- BUT A VERY SMALLGROUP OFACTO £$
A C1UALLY HYPNOTISE ike AUDIENCE -
So iL^IDEA fS TO HVPNOTSE The AUDIENCE,
FRANK THOMAS U&ESikt WORD ' CAPTIVATE! *YOURF TRYING TO GRAB %a
AUDIENCES ATTENTION W HOED /n- HOED IT WITH SOMETHING REAL THAT
THEY CAN IDENTIFY WITH/'
Conclusion- , ...
WE TRV TO MAKE T SO REAL / SUPER- PEAL, THAT ITS COMPULSIVE
VIEWING. WB EXPERIENCE il te- EMOTION MAGNIFY iH RESULT-
i vs Always Been embarrassed by animators hanging around Ike water
COOLER. TALKING- ABOUT/HE ACTING"
ITS WELL KNOWN THAT A LOT OF ACT(STS CAN TALK A TERRIFIC FIGHT,
BUT WHEN YOU SEE 7HFIRL DRAWINGS, ifc A FLAP GIVEAWAY OF WHAT
they're Really like, am p> how much more so when their drawing s
are actually moving AROUND. You CAN see a person's strengths
T id WEAKNESS^ right away.
If m ( !ZE A COLD FISH, SUPERFICIAL PERSON OR EMOTIONAL WRECK,THERE
IT IS FDR ALL TO SEE, S O WE CAN OMLY EXPRESS OURSELVES AS BEST WE
CAN WITH WHAT WE HAVE TO OFFER EMOTIONALLY DuJ TECHNICALLY.
(m~) A REALLY GOOD PROFESSIONAL SHOULD BE ABLE TO HANDLE A
WIPE RANGE OF ACTING MATERIAL, WHATEVER. HIS/HER EMCTiOUAL
STATE OF MIND-
THeReS THIS <2 TORY ABOUT A SERIOUSLY DEPRESSED MAN IN GERMANY
WHO WENT TO SEE A PSYCHIATRIST;
The PSYCHIATRIST says, you VE LOST YOUp SENSE of HmoUR IN LIFE
You NEED TO HAVE A REALLY GOOD LAU&H. GO T6 tUe CIRCUS - THEP/(
TH IS GREAT CLOWN, GROCK, Tk o FUNNIEST MAN Yo/VE EVER SEm/
Ike, ANSWER COMES BACK , * / AM GROCK, "
Frank Thomas , a master of animating empathy ^ pathos , aaa/avs
CRITICISED ME (construct 1VLLY) FOR SPENDING TOO MUCH TIME ON
SPECTACULAR SURROUNDING ANIMATION W NOT ENOUGH OFGOWE
STRAIGHT FOR 1k& EMOTIONAL CENTRE.
PART OF pita, REASON WAS TffAT l FELT WE WEREN F YET GOOD ENOUGH AT T
Go WORK ON five . l ' WORLP // OF Tk-t, PIECE %<a 3 LEAVE Tka, HAMLET ^7 TIFF
T ILL LAST 'BUT FRANKS oRITlCSM IS VALID,
317
Animation was pm of w p olprums when we started maxim a 1 who framed
CODER BABBIT' FRANK WROTE MBA WONDERFULLY ENCOURAGING BETTER
including, u if You brihq this off, you'll be a hero. "
i CARRIED FRANKS LETV&Z IN MY CHEST POCKET THROUGHOUT IUb % i/ L YEARS
OF PRODUCTION PRESSum Me) WOULD EeREAD IT every time things got ROUGH.
WHEN Tk& PICTURE CAME OUT Rub WAS A HIT, NOTHING FROM FRANK.
2 - MONTHS LATER Cfkttie BIGGEST PICTURE of TkeVEAft, NOTHING FROM FRANK
3 MONTHS LATER I RANG NfM UR
ti
Ft FRANK, ITS PICK
//
V- ' w
,,, Y FAH,,,
X HU, FRANK, WELL, WE MALE c! Irk A HIT, FRANK! ITS A Fir!
EAH..T
NV / mlan / well, we pip ia&best we could its a huge
success! enormous!"
'"well, I KNOW ; FRANK, IT COULD HAVE BEEN BETTER, BUT WE
REALLY WORKED HARD W 0VFEYBOPY LOVES IT/ *
^ r , , YEAH - ' 7
" x Kell , er ,um, / guess that you could say that we raised
A GIMMICK TO Tli^ LEVEL OF A NOVELTY, BUT UK A HIT! "
*„.Y EAH*
//
^Aw f cme on frank, / know you always criticise me for
Mot grabbing Tue, audience emotionally - rut Youve got
To GIVE IT TO ME , WHEN T& VILLA^S GOING TO KlLLTHE
RABBIT BY DIPPING HIM iNTke VAT OF ACETONE, ALLTheRIDS
IN AUDIENCE YELL /'PONT DO if! PONT DO ITf 7/
(long pause) ,)\i wish they had. *
WELL, I KKON WHAT FRANK MEANS. IN MY DEFENSE, I HAP To PUSH VERY CtZONGLY
for Some animation i did at front of ike opening cartoon where
WE COULD AT LEAST SpE WHATT& RABBIT LOOKED LIKE BEFORE HEQtARTeD
S LOOT NG AROUND DIKE A CRC&S BETWEEN CHEWING &0M sJ A FIREWORK-
THERE WAS A REAL OPPORTUNITY FOR, PATHOS THAT WE MISSED.
THERE IVAS A SHOT of ROGER SITTING ON A GARBAGE CAN IN A B/CK ALLEY
CRYING ABOUT WHAT HE THOUGHT WAT HIS WIfTc INFIDELITY-
318
LIKE GfROCK, i WANTED TO SHOW A COMPLETED DIFFERENT SIDE OF The,
RABgirk PERSONALITY BEHIND MS PROFESSIONAL MASK* I VVAHTpD la ANIMATE
IT MYSELF, gift I HAD Too MUCH ELSE TO DQ. WE HAP A FINE LEAP AN/MAJOR
WHO WAS AT The-TIME VETO/ LONELY W / Kmw HE WAS MAH fo£1ke>fQ&>
A TOR EXECUTIVE CO/YES IN xJ SAYS *BY To WAY, PICK, SO frdSo EEAU-Y WATS
TO DO THAT SCENE, l SA(P / "OH HO r HES A SUPERB BROAP ANIMATOR. W
INVENTIVELY FUNNY, EXCELLENT, BUT I THINK NFS WRONG FdFTHF SCENE,
H-E& COT A GREAT GIRLFRIEND, HE? VERY Up w)UOTThe PERSON. KTtTHlSJog*
* BUT he Realty wants to do it, pick, He f s been phoning mb up about it*
''Bur HRs wrong - it’ll be ok- But it wont have this other side to it
%e other Guy should do it ^ '’but heK $ tying to do it
I lose argument. Outvoted, its wrong, buttu picture feeds
LIKE A HIT W ANYWAY I CANT AFFORD TO BE FIRED. OF QOOASETkt,
result was just like all Tk^ Other, manic scenes - W.we m / ss eo
HAVING ANOTHER DIMENSION To Tie. CHARACTER WHICH WOULD HAVE GIVEN
A MUCH STRONGER EMOTIONAL PULL WITH Tkc AU.DfENCE,
WIN SOME/ LOSE SOME,
(N AN INTERVIEW IN iHlZ AT Tit ZAGREB FILM FESTIVAL, FRANK THOfUS
TALKED ABOUT A MAN xv WHO NEVER HAD TALENT for entertainment, H E
WAS ONE OF Tie- BEST ASSISTANTS WE EVER HAD >, PE KNEW EVERYTHING
YOU COULD TEACH ABOUT MOVEMENT, MOVING Tke CHARACTER w WEIGHT
'SiO PERTH BALANCE m3 ALL THESE THINGS . HE COULP DEM THEM LIKE
ANYTHING, BUT HE HAD A VERY WEAK SENSE OF ENTERTAINMENT W HE HAP
A VERY POOR CHOICE OF WHAT TO PO IN ANIMATION — SO A/S ANIMATION
K/AS ALWAYS FLAT IT ALWAYS MOVED NICELY, BUT NOBODY WAITED To LOOK ATi T *
MILT KAHL ALWAYS SAID, "fl4 A MATTER OF TICKING %*. RIGHT THING r O DO
2nd MAKING UP YOUR MIND ABOUT THAT . AND THEN NOT IfTriNG ANY OTHER
IDEAS INTERFERE WITH IT . POA/T" LET YOUR MAIN IDEA GET BUFJED OR
INTERFERED WffH BY SOMETH IMG ELSE, /y
CONCLUSION^
WE THINK ABOUT IT iN OVERALL, JUST AS IF INF WERE AN ACTOR DOm IT
HOW DO WE DO IT ike, BEST WAY To Pur Tke &U&INESS OVER Tee BEST?
Before we a a/ /mate we figuee our in advance exactly what wb‘pe com To vc
Know where weft going, in Planning lock down Tk& >mRdptant fcdes.
319
A&T BABmrr SAID THAT ike* GREAT S/W^TYTtA (jz&NOWN&D FCPoThcEi^oTOHAL
POW&& oJ HEARTFELT PASSION INHIS WO&K) SPENT PAYS WORKING OH T/NY
THumHAliX. HE HAP EVERYTHING ALL WORKED OUT fH MINIATURE g BFORZ
AH /MATING, pANp Tke* 0*f£> PESULT Trill. CAMBOUf JuST AS QWCHPf AS OTA0Z ANIMATORS)
Gpiki natnickalso told me, ' 1 tytla was a very t vbpy carbful planner?-
CcpANGB OF }BYPRESS ION ")
/ WAS VERY TAKEN WITH WHATDISNEY AANTTBR AN/MATOrJ fBACJiBP BPKlLA&SON
HAS TO SAY IM FRANK THOMAS W OLLlB JOHNOTOHS THE ILLUSION OF LIFT A
tf££A(!> Iti 7h* EARLYMICKEYMOUSE SHOOS THEY DiSCOVERED THIS PRINCIPLE*
IF YOU WERE LOOKING AT A PORTRAIT AN>-
* THE SUBJECT GRADUALLY LOWBRED fHS BROWS INTO A FROWN -
PAUSED * AND THEN LIFTED ONE BROW AND GLANCED TO IMP SIDE,
YOU IMMEDIATELY WOULD SpHSE A CHANGE FROM ONE THOUGHT
TV ANOTHER. SO/11 zTH lNO VERY /Af PORTANT HA PPpNBD l
THROUGH A CHANGE OF EXPRESSION The THOUGHT PROCESS WAS SHOWN." -■
i THOUGHT OK, LETS JUST SKETCH THIS OUT IN US SIMPLEST POLM tod SEE WHAT IT LOOKS LIKE -
A/VMA
ti
AJAAA
<Tf2APttAUL t-OWfiffi
SEOWS INTO A PtiOWH
/\yv\y\
PAUSES -rwew
Lim ONE BROW
AND <Ri-AMCg$
tothesipeP
(Great. Hes twnkwgI then i wondered- is there any way to $t&n&mn ws further?
OK, i-Eft have Tac Prep,zcws.
60 yf> iN AN ANTICIPATION E&FOfe GOING DOWN.
320
Tpr WORKS. CAN WE SV^GTHeH IVFUtZtHEfc Gtill?
WHY PONT WE AHTiCifATeik, EAiCEP EYEBROW BY LOWERING IT WITHER?
AAAa.
Geo pom itgqmup
THAT WORKS 7£>0. ANYTHING gl£E WE CAN DO ?
AAAA
MAA
AAAA.
/VWV
Aaaa
ama
A/VX/V
^ S'AOW Hi-'A/K ENROUTE
, MI&HT HBLF ir~
MAYBE WEVE OVEZAN MATED IT BY NOW ^ MAYBE fit A BsT CORNY ’SuTirsHO^
WHAT WE CAN to BY LOOKING TOR EXTRA POSITIONS - MORE CHANGE -MORE BANG
FCfACUju SUCK.
C
L-COK FO&TkR CONTRACT
MILT KAHL ALWAYS SAI£> PONT CHANGE tte EXPRESSION WRING A EBDAD MOT.
HE ( 0 yS£7W$ EXAMPLE :
SAy WE HAVE A PERSON R^AtPlNG A BOOK"
HE HEARS A NOISE
which startles him
- PRi&fmlS him-
swmsRouNb.
321
Fo&A START wdo n EEP SOMETHING TO CHANGE FROM - SOMETHING OPfDCfTE-
sornrum thatc a lot different from what we ( rm. going to change to,
Lpfe FFT~fa*-gOOK UP xJ>
Sur wo Pair want 10 change Hts expre&on wrjns ike. move where we cMr see rr
GO WE INSERT a POSITION WHERE WE Cm ih& CHANGE BEFORE 'flu MOVE.
OR) HAVE HIM WOVE CHANGE jUe, EKPR&&ON Write END cf HP MOVE WHERE WE CAW If.
Either wav
/s MUCH
more
effective
Tlfc. IDEA IP TO Put IUsl GRANGE WHERE YOU CAN SEE IT ~ NOT DuBlN<S ite. BROAD MOVE -
CNEES £ Ifo MOVE IS QUITE SHOW - THEN WE COULD REAP IT
Again f/ 1kc mind is ike, pilot ; we thine or things sendee i% e Bopy mrs them,
there s always a cpittsecond of "thinking time" Before character pos Inaction.
322
ChU ACnm point
....a.^u'
A SAP ACTOlT Witt- POINT
At Tt SAME Tl^E AS TATIM&
HE sees . 1
-rm&
£k'tfS&tAE
BUT m GAN TAKE IT OUT OF
ikifcmM OFlfcCUOtE
EUAPPf 8Y POINTING Fl&l
aW THEM SAYWG (Ti
OR, SAX It Fim THEM POINT -
iHaOEKJMV/, WITH POINTING -
l/t A GOOD i PEA TO HEAP
WITH 1U t WZIQ r-
>ic) have fa* han i> Finger. s
CoM£ up HMT.
AMO - A Y^Ry M/NOR 7 * Afc
m a FPsrMovmmr-
IE WERE Goim FEOm(A) 1
Mao/
SETT#?'
THAN
WCRPS
K/^ QptAp /WS^T I FRAME
&TDRF (IT) IN 1 ti^WRDH<E
pimrck: Tc&FAsrib&eE
Ear we Fmn iht s map/
323
^ —
ROPY LANGUAGE
The brilliant vmm m pilectdr/designs ken ahderson sad,
a PANTOMIME IS %g BASIC APT OF ANIMATION .
Body language ts To foot W fortunately it is universal.
u
/ WAS WITH Km IN TEHRAN JUST BEfOREihc-RmOLUTicN&J / HAP A NASTY SHOCK ^ A BiCLE^CN
wren -mm fan my & HajtFL-os.cKR.--vYmm M ohrstmal emu' fob ah imiAN ampibce.
We hap Tripp to have as much bow language ih ite pilm as we Could but m Still wsR£
left wm PicK&to literate stop/, of course ike. audience pidht mw&tanl a word.
a chuck Jones captccN emu oh after ■W Blew us our or ta water.
BO FOR US, W& SHOULD KEEP WORDS To A SAPP MINIMUM W MAKE 0mWm AS CLEAR
AS WE CAN VH3DUQ H PANTOM. IMF WSHOULD FUEL WE HAVE ONLY TUl WWlbTHLfo PTORY
irk A TREAT TEA To STUDY SILENT MOVIES , ALTHOUGH MUCH OF 1&L ACTING IE IMGHAEUf
HAMMY W CORNY- Ift ALU WRY CLEAR- ALMOST A LOST ART,
AN ACTOR-HAS TO BE SPONTANEOUS TO A DEGREE - BUT ITS NOTSRCWTAmOtiS TORUS'/TS
ANYTHING M£' WECANTlf ROWN W c GIVE IT A LOT CF THOUGHT- WE CAH 70 THINGS,
TEST THEN[ W MAKE CHANGES, WEVE <3 OTphe, BODY CONTROL W WgRENOT PM TFT BY
PHYSICAL VEKTERtTY, OR GRAVITY, C&A&E, OR RAPE, OR SEX. AGAIN, WE CAN iNYBtT WHAT
wt£NT exist' in reality w still make it a ppeaf- beuevasle.
^ ' II — III ~ l~-'- I . .
( symmetry ask twthing j
/ FEEL THAT SYMMETRY HAS GOTTEN A BAP PRESS BECAUSE OF BAD ANIMATION ACTING.
PEOPLE SAY ‘'AVOID TWINNINGWHERE BOTH ARMS %} HANDS ARE VO(NG Tko SAME THING.
3'JX Ji1ST WATM AN V POL I ffCM, P&AOHER OR LEADER OF WHATEVER t OR EXPERT ON THm&CN,
WHEN THEY'RE LAYING pOWNiks-lAW THE FARMS 'mi HAND § WILL 7WW SYMMETRICALLY.
* WE N&D PA LAUGH-, " HAFP/NESS AMD ITS Up TO YOJ SO THAT I CAN OU CCLSO
HARMONY, ABUNDANCE. F 'ORAL- TO VOTE FOP-MB D^UVBR, £NUGHT&Mm'
OR- TD ^SWD MOrV^ (EUOROUS KARMCHY
mcspmnY
ASmmcE
Eahanc&d lvTs eh.
324
Tm may oo rr/N a m>oc&> t /&s&on *-
GLOizteus,
W£ “
ahp watch )tw&&F mm Yovm tmm mmiu. ym about someth . m jusr m trmum*.
t mm mmzmy is ah mptmoH of wmaw smm, mum= i ogm U 4 mom ^ P&cm
use itALLTli^VMS (&fzmme irupTommr m wmw&t) W thfn feti$N to irioEXF&&&
%t whole mss Tm'fcz mv mg to cohvbv, 7
<o t a jupiaouz use of twinning m fff&tnb because irk mcuuTom
with How we use it.
A WAY To TAKE Hit GFFTWMHiti % 16 JUSTTO PE AY ONEOFikz, HMDS OR ARMS BY <&&&&&
Like A dancer worn) oo - on rim wortm pmm
m k MA&/&WHC Tv MABrmUASS ON ACTING, MiCMAEL CAINE CmCMP 0ZR/QHE BY SA0.
IF you see some aopz mm a Piece of ductus tmr You admire- smu it *
(pirn foz. wmr) ''£ 2 MS (I ♦ * (a«w*w=p smock, mmou .) v becmcf ,., TH& D/D. *
Sound mice cme f&xa t»e Dmw ®wo tm-Y on-
if You'm SNc&r of vm, cp&> rroNTk* eves. me eves ape wmc people watch.
OF COOM&E THE IS JtOE. The EYES Ape Tut VIS mb FARTOFik, BPA/N - OlW CDHNETW ID ft
I THINK THATS WHY WE SEE Tie 'SOUL ' OP PERSON FEVEAL0P M Tke EYES > (T& SCAfcY, H
Lemma &&i arum*
325
Our ryes art supremely expressive u.J we easily common catewith
Y£S ALONE . WE CAN OFTEN TFLLTkr KtORY JUST WITH 1H EVES,
AND HOW MUCH MORE DRAMATIC IT IS TO JUST TURNIke&N& INSTEAD
OF ike. WHOLE BODY!
Herb's something we see all pay every w-W O not seen it
animated until i started rant no about it to animators s years a go,-
mm
WHEN LISTENING ONTk& PHONE Hk-t- EVES FLICKER
AROUHD IN A STAQZATO FASHION REFLECTING 7&e
LISTENERS SHiFt!NO THCU0H TS IN REACTION-
OUR BYES ARE RARELY S' VEL¬
ITE eoop to distend me. pupil to s how form - feel factorIu eve.
movs. PuFi- down with Bt> >s ,'p m H&wi- Foeam irpown.
'There i s an infinite variety of Bp nits. But herbs a simple formula .
I 2 3 H' €67
'THIS IS CRUDE, But EFFECTIVE - WORKS WELL ON ONES OR TWOS.
WE Cm FTP ON FOREVER aeout acting (pj we do) but our,job is
© Pur over. point cf-p c scene Clearly
© Get INSIDE lie. character, or characters ■
C?uY EVEE/SOEYS PEAU-Y PTF&ZEhTj
(D SNOW clearly what they 'no THINKING.
:*r:- ‘
ANIMAL ACTION
fbifa legged animals walk like two of us joined together - one CLiomiy ahead
OF The- OTHER " TWO CRTS. OF HESS &FIGHTUV OUT OF PHASE.
we hook equals itt&SJW rums 4 $ we po with a human, start wtttilhz contact
POSITIONS fPEOBABL Y STARTING oh ik^FPCWT Fear) WHERE APE Tk-e, UPB 9K7 DOWNS? WHERE
IS %vWEIGHT? WHAfs Tk^ DREED? CHARACTER. ? DIFFERENCES IN BUILD?
A FOUR LEGGED WALK
Has two ma in
extreme -
faAG&FEATfsD)
PELVIS up CHEST TOWN
m$tfT£Hwiv&z
?up.'UE!^ pem
F£lVIS J3oWN
9tiouu>m
i
THe- H&P 'Tom
DOWN AS Ike.
CM05r GPU S VOWF
Tie. H&PCCMSS. UF
SUGHTW i-ATEfZ
THAU "fife- GHf&r
PSIAYBP ZOZ*hm.
BUT WITH TWO SETS CF LESS WORKING, THERMS A LOT CF WEIGHT 7 RANBFPRENCE GOINS CM-
WHERE The. WEIGHT IS COMING FROM/ WHERE IT /S W WHERE ITS GOING TO.
327
IF WE X PE GOING To BE ^PeAUSTC HI OttZ ACPCN WERE GOING TO HAVE TO DO RESEARCH*
HOW ike AH/MAP IS BUILT Itk £/7£ Wt YPE^ WATCHING WATCHING UNTIL WfKNOW IT
i LIVE ACftOM REFERENCE
_i ■ ■ ■ ■_i -- ■■■ — ■»■■■■■ ■■
Qmt>Y FILM w VIDEO W Ike. TATRA OZPlNARY MU YBZlpGE PHOTOS of ANIMALS
ums u) LOWS W CHANGING MUSCLE SHAPES ARB Cism DiSFUYEP AG&NST BACKSROJMD
A MAESlPQ OF ANIMAL. ACTION , MILT HAUL SAIL HE PIP THOROUGH RESEARCH ON ANIMALS
'bd ALWAYS DlD. HE SAIL HE SPENTHUNDREDS OFHOU& S JUP/fNG ACTONS OF VARIOUS ANIMALS
fan) WALKS eod RONS" WHA (75 HAPPENING ~ WHEPETke WRIGHTIS HOW YOU DRAW THEM,. HESAID
he vmrTHm theft wm, an e§t of arriving at THgFJHiNes: vye just havf ToGoimcm 1
M *LT SWORE SYlh'&.MDYBWSE BOOKS. - PbuHP Ihm EVEN B&T& THAN FW, BECAUSE OF ikt GRUB.
Km HARRIS ALSO GWZE RY MUYBRIDGE. HE BOILED POWN A SIMPLE FORMULA -
&
Mums all walk
basically alike
■f
B (f TAKE DRAWING
H@\p tufns WITH -O^^GA/WSr-
Iht frost roar Acrtott
Tkt tail SCOT MOV& ml IfaTS&T
WITH SACK Less ACTS HKEA WHIP.
imp OQ'SiPmrm
TAIL FROM AEO'/e.
Twee most animal walks are pmtf similar , if weunv&stand % walk cfa medium built
animal lake a horse, log or large cat wf can apply Hig same Knowledge to oiwz animals
Of pending on their Site, weight, design timing' ih&iHTEivAiScF Thee iwumdmg>
' f we Get do wn on all fours we can feel how they wank *
A PASS
* R>S
Cotta^T
ccHwcr
^r
t ?m
ros
contact
cc*J iMr
328
ASziwmw hmP
m Qumm
A WALK um AN Ogt&tCH AN b A MAM?
T>cm m osr&otf and a man m (A\JA uk&a horse?
329
AFPwtt&io MosrAMmi&- ws AMEEim size mg-
THEE& 5 0 MUCH Qom Obi THAT COLO)f& HELP -
J2- maw brumes. -
saack/w
(2*ff?CJS
Ka> px,
pas-s. m
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ml
S(At£ RJft
cewrAC]
CW$T+
StfOlWE
up
Pfei MS
pO Wti
CONVICT
ho u>m uttfoiMii
330
I {ft*
e -.
P/tf£ 'TWf27S'
€ IDE io £/0t
PUfZtNGr
~fU& iVAl-K;
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as 11S uFTms
^ c-otfTacr
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pawn
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pbww
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PELVIS
UP
f
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DO’^f/ PASS as !?S u?rm
gACKTS>(f)
<
331
h£!Z£2 A f=UMNY 'fNVSftret/ WAUKOH A OH Tw'CS - WALK/M S DM 16 s. }T$ FLAMBP WlTtf^FgytT LBG »x)
'k oppcsm BKK 'Twimrisr-TAKtfks -fifcSr^Tassrt/e?. i%<l Fxre&m*! »J *n A& level *dih& P4S8MS Pc&ffiCH *L
3 *) fi&t> AZa BAKED SU@HW. 'll ie CCHW /S OJV ^5 ^ <« # A3. SAMfl^ BsLie/ABLB f KlXTNO AHKML WAiHS Ll^iyiS.
13 m fi ie* /jP
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332
DIRECTING
/ twa/k rmz£ ape omit a few msomur twa/gs to khow ascot pu&ctmg -
but we've (Sot to mm those,
’Iht ptRECTOSSJOB (STD MAKE tr ALA W(XK- i HAVE THEBE &UL£S :
CD ;&£ SIMPLE.
® SE cleat:
dp put mzrrum m£f& you em see tr
~fl(t DIKeCtdR- is AT FACED CREATURE WIW A foot IN % CAMPS. Ih^SfUMOM PtmM (77
DO &COP
WOEK-
fctj D£4W FASTER
ik<L FfiONT TCQ1A
TUt, /SACK Room
333
t*
ITS NOT A BUSINESS ITS AN EXPRESSION i
HAWKINS (jAN/MATWQ
irk a busing, god PAm (r!
A avow. zx&umvz)
OF CoUR ST irk BOTH ' BUT DO YOU KNOW %& GOLDEN RULE'
m dryer has tU*. ceold aaakes nub rules,
MERE' BEING HIRED TO pQ A JDS W WE SHOULD DO WHAT W^RE BEING Hi BED TO DO. WE SHOULD
=OLLOW ike tOl£&> IF WE WANT ARTISTIC FREEDOM THEN WE PROVIDE OUR OWN GOLD.
I H^ERIBFJ /s SO MPonml l ALWAYS WRITE ON ONE SHEET OF ftAFFR. WHAT Tie GOALS ARE - WHAT
K - y WFrf SUPPOSED TO DO. FO/Z EXAMPLE, ike'WHO FRAMED ROGEfR RABBIT " FtLN\-
FIRST, MAKEikt MAtPJAGEOF LWFACTION m) CARTOON REALMS BLEND TOGETHER TONV/NCI NCR/-
second f use (3 Dism articulation
(£) WARNER TYPE CHARACTERS
© 7.EX AVERY HUMOUR C^HT NOT SO gfiMt]
OUF JOB IS TO ALLAY Th* FEARS Oplkt- EXECUTIVES ^x) INCITE CREED BY OJtt TALENT DISPLAY-
SOLVING iht, PROBLEMS UP FRONT DESIGN 7 ae CWFF CP SELECT WUATO GOOD tod ’CHOW IT WORKS.
tt LEICA REEL
Oft ANIMATiC, OF FILMED COLOUR STORYBOARD WILD SHOW WUATS WORDING - (AND
WHAT ICblf) ITS SOMETHING FOR EVERYONE TO HANG THEIR RAT ON CALM DOWN/.
THEN WE MAKE Iht CHANGES. Td THAI LEiCA R0L - NOTTO The ANIMATION . 7 M WAY Iht ANIMATORS
GAN CtET ON WITH THEIR WORK IN SOME KIND OF PEACE.
separate Ik* characters. ) show ikt difference RmEErrmi _
—— ---—' GlZESf SHAPES , CQLOV&, VOICES. PUTOPPOStTEB TOGETHER
LITTLE. FATdJ THlN. THDLDw) SHORT, ROUND 2HU SQUARE, OLD YOUNG, RICH to\c> POOR
334
77//s is so very important! A successful exampleis DiSNFYS lion king whepe
A tLTfa creatures sound, look w behave Quite differently mw each other.
PUT ihe, BEST AH/MATO&S OH the. O PEN I MG f ENDING W AO
Pi LEAPS SPOTTED THROUGH The* mi EPEE - LIKE Across WHO
KNOW 1H IMPORTANCE Of STAGE ENTRANCES W EXITS, Ptfrfk&'BEST PEOPLE OH
CLOSE UPC ShG LONG SCENES, LESS EXPERIENCED PEOPLE ON 3 FOOTOHGCHOT
m middle people iNitro muddle.
casting animators
EVERYBODY HAS THE NOTHING ‘THEY DO WELL , Ilk CURJcS TO
CAST -THEM FOE WHAT THEY CAN DO W NOT 'WHAT THEY CANT DO.
UNLESS THEY'RE ASKING ETC HELP/ ALLOW Ike, ANIMATOR To GTE
Blim UNIMPEDED. ONCE 71 W& PREmMT WITH A NEW S CENE
THEY WONT MIND MAKING CHANGE to A PREVIOUS ONE, WERE ALL The. & 4 /H£.
Keep Ikt Door open fop comtrruvcns fsm everyone on ittTmi,
IF You CATCH THEM M OTTERING, ASK THEM To*$W!$AY!"Wf MStT
&e mw about something.
IE YOU CAST The, RIGHT AOVK FoKTk^JOB //s The, EASIEST THING
IN the WOPiD. THEY'LL USUALLY GIVE IT TO YOU ON TAKE ONE.
Them just get another take for insurance. Actually they'll usuauy give it to
Y ou oh the Rehearsal - So tellTU Recordist to record everything, its only if
YOU HAVEN T MADE CLEAR WHATS REQUIRED THAT YOU CAN END UP WITH FIFTY TAKES .
Hook- ufsj its our respondibilhY to ensure that one animators shot near
~ up perfectly to riv^ next persons shot, therfs no accuse for
AN ANIMATION DIRECTOR TO GETTHlS WRONG 4 C WE CAN DRAW PERFECT MATCH -UPS.
FFSEARCl 7 ) VERY, VERY, VERY IMPORTANT RESEARCH EVERYTHING TILL YOU KNOW
The, subject inside out. Don't WING IT
WE SHOULD KNOW EDITING TECHNIQUES . / STUD Y AKIRA KUROSAWA
The, JAPANESE DIRECTOR, WHO I THINK is fkc WORLD'S GREATEST EDI7DR
AS WELL AS DIRECTOR r
ANOTHER GREAT THING AROur KUROSAWA IS THAT
he Relieves in his material . HE trusts the
Audience trusts himself to tell his story d»3 allows ike, audience
TO COME TO ikt FlLhA. So ASA DIRECTOR YOU HAVE TV BELIEVE IN YxiR MATERIAL.
335
it's AMAVnG WHAr YOU CM GET AWAY W/7?/,
AM J/V'm&TWS THING HAPPENED ON ^MO FRAMED ROGER RABB/T "
THfACxOR, BOS HC&mS HAD A GR&KTABil-ITY TO CONCENTRATE OH A N ON-DISTANT
TAmr WHO WAS g TERT H f&H - MOSTACOSS WHO (jQDKTHROUGH O/OFAST
~tke INVISIBLE CHANACj&Z, BOB COUBP STOP HiS &YEB £ ISHTATTUo 3 FOOT BINE
meRE The. ra BBrrS F(fS would iB£.
One pay animate Smcn wfus (ndin a itp p\pfcad) caw Mtoiae and said,
"m'vE 6c t A ppcpb&w - poSms i$ booking- Ar a 6 Poor mm rabbit- what po
m DO? HE WAS fcASHT HOSKINS HAD TFMPORA&PN BA PS ED AND WAS BOOKING
TALKING To A AW L A£OWT 6 fWT CFFTRe GROUND.
Ikt BABeiTi
$<iPP0<&D7O8&
Raw Hm*.
I TttO&tT, v W^ftte PABBlfs GOT THEBE HUGE FEET- BETS JUST STRETCH H/IA
UPON HISTOEO A&AidSr TA*. WALL'. " FOR HO REASON?' ' WHAT 0 POE ARE WF
GfOiMO TO DO? THE RABBfTS NEURCmC, - IT SHOUBP WORK*'
THF/ WEN USED
TU& SHOT (N ~fUsL
fRoYcromo trailers
AND NO OHF 0/m
<QUBSTtONF€> T
/ ,4fAVAY£ Sf<£-rcH ZVg&YV-iltiG OUT SMALL FKSf. "fl'c LITTLE T£Atf!%3$, 3£CW$fc 1ti€fZE -#AW/«3 Cf^W
gggA'I -ro SHOW fC£A K W32KfcV6 Ci^tjglV ££ AtjT:
&vtyL(C
fc n. i . ; T ; . ; .w:-: :.*+■:■>:■
FuU^q
337
AND IN CONCLUSION: He, REVIEW '
The, PROCEDURE
75 MAKE Ik SOUP'-
. i- —- B j >-■ f ■-*-■■ ■
Storyboard C De ^ mep ?&*■ zougu')
pi-Mme
U-BAbS. TO
f
TEST The'L £1 Ca‘ REEL or. 'ANlMATIO at FlMED blDRYBOARD
i-BAITS.lt>
±
SrS Planning drawings («sw*sM*iwme««*)
-fuss Cim- umBfisiAup m oF&yer
MAN &IM PQS
rest (Key
FDZ\TtOH§
The. S!Q DRAWINGS OR f(%ITtOMS ThiAT !W£ To
7^r PXT^M^ - AMYOW&Z F&§mCNS THAT HAVE _ lb EB THERE,
-US.UAU-Y ' CONTACTS’
test Pacing Positions Ppmmps just >n rnmn)
spotttNieok
Flow
ad WE CAN
KE&Ot
JX> S&fERAL- SX&AX3MT MiEAb PONS
■ ike, p&ma&v rnm
~%e. SFCONOARy TV IMG
ike. TWRP TV/NG
%, FOUCfh -THING
AW OTHZPC BITS
OIKP PHAFPY
PAIR
rAT
TAI/S &k
338
(j7fc
IN<38£C>mKTS
An d To to 7W& wefee uSfMS ;
<Eoot k&s foR, charity
WEIGHT - 'CHANGE' t*) ANTICIPATION.
To Get FtextBitiry:
ovbouppm action ’ - \
W (Vf'& WS//Y<5 Successive BREAKING OF JOINTS
ACCENTS - //#£>, g^py, /ma/££ / f^jet
(azrwHm &wy)
StAGG&B VIBRATIONS
Compression aJ PtsrmvoM Ao^mh aj emsrctt)
PtFfeReHT WAtt^ TvJ RONS - $TP£SSmTk J>H=FE&KE
BETWEEN THINGS P&DPl-g.
/ /V VBNTLJP MOVES THAT CANT HAPPEN M He, PEN- WOPU>
BUT WE MAKE HOOK BELIEVA8UE.
FoP DIALOGUE W£ ( R£ PPC&msm rr SOMEWHERE-
sm all cume things eroaplY or very Subtly
ALLTHlS tsikiL ANATOMY 7D ENABLE OT 72? GlVEjhe, PERFORMANCE.
Sustain it w) make it compulsive viewing.
Am once irk all absorbed into tk-e bloodstream-
To FREE US To EXPRESS 1 ,
The RAYS Itie TM 3.
/
339
Start with the things that you know and the things that are unknown will be revealed to you.
Rembrandt, 1606-1669
A CKNOWLEDG E ME NTS
Now I know why authors profusely thank their editors! So thanks to Walter Donohue at Faber and Faber
for daring to think there might be a useful book here and for his enthusiasm and patience as ! struggled
endlessly to complete.
And thanks to the production team: Nigel Marsh, Kate Ward and Ron Costley for coping with my
unorthodox format and crazy demands. Linda Rosenberg of Farrar, Straus and Giroux has been an ener¬
getic enthusiast and supporter of the book all the way along.
I'm aiso very grateful to Roy E. Disney who has helped me in many different ways.
The Disney Studio has been very generous and co-operative as they always have been during my life-long
one-foot-in and one-foot-out relationship with them. Special thanks to Howard Green for his consistent
help and encouragement.
! think the book already shows how much I owe to my teachers and friends: Ken Harris, Art Babbitt, Milt
Kahl, Emery Hawkins and Grim Natwick. But I want to especially thank Frank Thomas and Ollie Johnston
for their kindness and advice over the years. It's been a privilege to have these men as allies and friends.
Thanks to author/animator John Canemaker for his advice and long term support. My 25 year collabora¬
tor Roy Naisbitt saved the old artwork i would have thrown out and that's why we have the illustrations.
Thanks Roy. Animator/director Neil Boyle started out as my protege and ended up giving me sound
advice over the three and a half years it's taken. Catharine and Andy Evans at Dimond Press went far
beyond the call of duty as we pushed their laser copier to its limits. Thanks to Chris Hill for his help with
the computer images on the cover.
I want to thank my son, animator Alex Williams for constantly telling me the book will be useful. My old
school friend, animator Carl Bell has been helping me with stuff for years. Also my friend, author Ralph
Pred, has been extremely stimulating and encouraging.
My photographer friend Frank Herrmann took the early photographs. Thanks Frank. The 'old man' photos
are by Jacob Sutton. Thanks, Jake. Thanks to builder Dennis Nash for building me an inventive place to
work on the book.
And thanks go to the following who all helped in different ways - Chris Wedge, Tom Sito, Morten
Thorning, Miguel Fuertes, Jane Miller, Nicola Solomon, Sue Perotto, Dean Kalman Lennert, Di McCrindie,
Lyn Naisbitt, Julie Kahl, Heavenly and Scott Wilson, Phil and Heather Sutton, John Ferguson, Ted and Jill
Hickford, Marilyn and David Dexter, Ellen Garvie, Mallory Pred, Saskia and Rebekah Sutton.
The cover on page x appears by kind permission of Animation Magazine, Roger Rabbit © Touchstone Pictures and
Amblin Entertainment, fnc. used by kind permission of Touchstone Pictures and Amblin Entertainment, Inc. The
photograph is by Jacob Sutton; The photographs on pages 2, 6, 8 and 45 are by Frank Herrmann; The stills on page
4 and page 10 from The Charge of the Light Brigade © The Charge of the Light Brigade, courtesy of MCM; The
photograph on page 7 is used by kind permission of Disney Enterprises, Inc.; The stills on pages 18 and 19 from
Steamboat Willie, The Skeleton Dance, Flowers and Trees, Three Little Pigs and Snow White and the Seven
Dwarfs are used by kind permission of Disney Enterprises, Inc.; The poster on page 21 is used by kind permission
of the British Film institute; 'Epitaph of an Unfortunate Artist’ is from the Complete Works of Robert Graves, cour¬
tesy of Carcanet Press Limited, 1999; The photograph on page 26 appears by kind permission of Disney Enterprises,
inc.; The photograph on page 39 ‘Golf Ball Bounce' © Harold Edgerton, courtesy of the Science Photo Library; The
Bugs Bunny sketch by Ken Harris on page 46 appears by kind permission of Warner Bros.; The photographs on page
328 are by Eadweard Muybridge, courtesy of the Kingston Museum and Heritage Service; The sketches on page
336 and page 337 appear by kind permission of Touchstone Pictures and Amblin Entertainment, Inc.
Every effort has been made to contact or trace all copyright holders. The publishers will be pleased to make good in
future editions or reprints any omissions or corrections brought to their attention.
342
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